PS 35B5 
.R252 




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AARON BOGGS, FRESHMAN 

By Walter Ben Hare. Comedy in 3 acts: 8 males, 8 
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AFTER THE GAME ~ 

By Lindsey Barbee. Comedy in 2 acts; 1 male. 9 
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ALL A MISTAKE 

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ALL ON ACCOUNT OF POLLY 

By Harry L. Newton. Comedy in 3 acts; 6 males, 10 
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AS A WOMAN THINKETH 

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AT THE END OF THE RAINBOW 

By Lindsey Barbee. Comedy in 3 acts; 6 males, 14 fe- 
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THE CLASS SHIP 

By Edith F. A. U. Painton. Commencement play- 
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CLUBBING A HUSBAND 

By Edith F. A. U. Painton. Comedy in 3 acts; 12 fe- 
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A COLLEGE TOWN 

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THE DEACON ENTANGLED 

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THE FIFTEENTH OF JANUARY 

By Lindsey Barbee. Comedy in 3 acts; 11 males. 
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THE GRADUATE'S CHOICE 

By Edith F. A. U. Painton. Commencement playlet: 12 
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T. S. Denison & Company, Publishers 

154 West Randolph Street GHICAGC) 



A CABIN COURTSHIP 



A Comedv in Three Acts 



Irene Jean Crandall 

AUTHOR OF 

'Tea and Politics,'" "Beyond ihe Gate," "Hands All Round," 
'For Freedom," "The Last Rehearsal,'^ "The Fairy Woods,"' Etc 



CHICAGO 

T. S. DENISON & COMPANY 
Publishers 



A CABIN COURTSHIP 



X3 



' o^l5?v- 



MY FATHER 



STRONG, TRUE-HEARTED AND 
FAITHFUL IN ALL THINGS 



NOTICE 

Production of this play is 
free to amateurs, but the sole 
professional rights are reserved 
by the author, who may be ad- 
dressed in care of the Publish- 
ers. Moving picture rights re- 
served. 



COPYRIGHT, 1921, BY 
IRENE JEAN CRANDALL 



MAR -7 1921 



A CABIN COURTSHIP 

FOK FIVE MEN AND FOUR WOMEN 



CHARACTERS 

(As you meet them.) 

June Forrest The Singer 

Philip Russell The Painter 

jNIrs. Culpepper June's Aunt 

George Ware CaroVs Fiance 

Carol Pratt The Poet's Inspiration 

Murray Alden The Poet 

Bill Jakin A Mountaineer 

Lizzie Jakin BilVs Wife 

Big Pete BilVs Enemy 

Time — T/jf Present. 

Place — The Mountains of Tennessee. 

Scene — The Living-room of a Mountain Cabin. 

Act I. An afternoon in May. 

Act II. Two weeks later. 

Act III. Tlie same evening. 
3 



A CABIN COURTSHIP 



CHARACTERISTICS AND COSTUMES. 

Geokge Ware: A successful business man who was 
once a poor boy of the mountains. Aged 30. He 
is tall, lean and muscular, with a well-built frame. 
He gives the impression of strength by liis quiet, 
but forceful manner. He speaks in a slow, de- 
liberate way with a slight suggestion of the 
mountaineer's drawl. Masculine, dominant and 
primitive. A doer and not a talker. 
Costumes: Act I. Business suit. 

Act II. A rain-coat over a business 

suit. 
Act III. Corduroy trousers and an 
outing shirt. 
Carol Pratt : A young girl of 23. She is sweet, 
slender and with a flower-like beauty and wistful 
charm. She is romantic and thinks life is made 
up of poetry and love-making. 
Costumes: Act I. Travelling suit and large hat. 
Act II. A dainty summer frock over 
which she wears a sweater 
coat. 
Act III. A long travelling coat over a 
pretty light dress. Travel- 
ling hat. 
Murray Alden : Aged 28. A minor poet and lec- 
turer on aesthetics. Effeminate with dreamy 
eyes. He is impractical and self-centered, ac- 
customed to the admiration of women. A talker 
and not a doer. 



A CABIN COURTSHIP 5 

Costumes : Act I. Ordinary day-time clothes 
with a conspicuous tie and a 
suggestion of the dandy. 
•Act II and Act III. White outing suit. 
June Fokrest: A liglit-hcarted, healthy girl of 20. 
Frank and outspoken, with lots of common sense. 
She can sing and dance, but she can't cook. 
Costumes : Act I. A stylish travelling suit and 
hat. 
Act II. A light dress and a big ging- 
ham apron. 
Act III. A pretty, fluffy dress with a 
low neck. A scarf of tulle 
' over her head and shoul- 

ders. 
Philip Ritsselt. : Aged 25. A poor artist who can- 
not sell his pictures. Good-hearted, happy-go- 
lucky and irresponsible. He plays the guitar and 
sings. 
Costumes: Act I. Travelling suit. 

Act II. and Act III. Outing suit. 
Mrs. Culpepper: A middle-aged club woman, ab- 
sorbed in New Thouglit, aesthetics and Hindu 
philosophy. She is verging on stoutness and try-' 
ing to diet to reduce her weight. Very serious and 
dignified. 
Costumes : Act I. Smart travelling suit and 
hat. Later — a negligee. 
Act II. A stylish afternoon dress 

and a shawl. 
Act HI. The same as Act II without 
the shawl. 



A CABIN COURTSHIP 



Bill Jakin : A tall, lank mountaineer, with dark hair 
and beard. Aged 35. He has a grave and de- 
liberate bearing and proud independence. 
Brawny, sinewy fellow of great e.ndurance. He 
speaks with a drawl. 
Costume: Brown jeans, a dark blue shirt and a 
huge, black floppy hat. Patched and 
ragged, but not untidy. 
Liz Jakin : A tall, thin mountain woman, with light 
hair, combed straight and plain. She is about 
30, but looks older. Although faded, she still 
carries herself well and has unmistakable dignity. 
Costume : A cheap blue calico dress and a pink 
sunbonnet. Coarse shoes. 
Big Pete. A huge, skulking man, with a dark, crafty 
face and shifting eyes. 
Costume: A cheap, coarse suit with trousers tucked 
into cowhide boots. A slouched hat. 
He carries a pistol. 



LIST OF PROPERTIES. 

Act I. 

Tables, chairs, fireplace and rifle. 

Suit-cases, travelling-bags, sketching-materials and 

razor for Phil. 
Guitar and bundles for June. 
Books for Mrs. Culpepper. 
Packages and big stick for George. 
Mountain laurel and other flowers for Cauol. 
Old pitcher, tin pail. 



i 



A CABIN COURTSHIP 



Act II. 

Wood for fireplace, matches, candles. 

Writing-pad and pencil for Murray. 

Books, easel, sketching-materials. 

Kerosene lamp, greasy cloth, letter and money for 

Carol. 
Dishes and tray. 
Pan of biscuits, cook-book, table-cloth and card-board 

sign for June. 
Laurel, other flowers and plants. 
Step-ladder and hammer. 

Large market basket and vegetables for Liz. 
Packages, letters, magazine, matches for George, 
Rifle for Bill. 



Act IIL 

Jar of laurel. 

Clock that strikes the hour. 

Guitar for Philip. 

Suit-case for Carol. 

Tin pail for Liz. 

Rifle for Bill and pistol for Big Pete. 

Tulle scarf and wrap for June. 

Poem on paper for Murray. 



A CABIN COURTSHIP 



SCENE PLOT 




WOOD DROP 



DOOR 

TABLE 
CHAIR I 1 CHAIR 



TABLE 



^ 



DOOR TO 
KITCHEN 



TABLE 



O CHAIR 



RIGHT 



LEFT 



Acts I, II and III. 



STAGE DIRECTIONS. 

R. means right of stage; C, center; R. C, riglit cen- 
ter; L., left; 1 E., first entrance; U. E., upper en- 
trance; R. 3 E., riglit entrance, up stage; up stage, 
away from footlights ; down stage, near footlights. 
The actor is supposed to be facing the audience. 



A CABIN COURTSHIP 



The First Act. 

Scene: The living-room of a mountain cabin built 
of logs. An open window, at the back center, looks out 
on to a porch and gives a glimpse of the woods beyond. 
A door left of center in flat leads outdoors. A door up 
L. leads into the kitchen and another door up R., di- 
agonal, leads into Mrs. Culpepper's room. There is a 
large fireplace xeith built-in seat down R. Over the 
fireplace a rifle rests on a pair of buck-antlers. A 
dropleaf table stands in front of the window. Rude 
shelves, built in the rough walls, hold dishes^ candle- 
sticks, etc. There are several home-made rustic cJwirs 
and a large table at R., also a smaller table tip left. 
The room looks as if it had not been occupied for some 
time. 

At rise of curtain the stage is empty. The reindow 
looking on to the porch is open. There is the sound 
of carriage wheels and a mans drawling voice calling 

Whoa — whoa.'' Then a young, girlish voice says 
gaily, " Here's the place. Let's jump out." In strong 
masculine tones comes the answer - — " Wait a minute, 
June. I'll help you." There is the sound of feet on 
the porch and then the outside door is opened and 
June comes in, with her arms full of bundles. She is 



10 A LABIN COURTSHIP 

a healthy looking girl of t-wenty, who zvalks with a 
light springing step and an independent carriage of 
her head. She wears a stylish travelling suit and hat. 
When she has put down the guitar and other bundles, 
she looks around the cabin with curiosity. Philip 
comes in, carrying two suit cases, a travelling bag and 
some sketching materials. He is twenty-five, medium 
height, good-looking and jolly. ■ 

Philip {dropping the baggage on the floor). I 
wish they had porters here in the mountains. That 
old native who drove us out {imitating drawl) 'lowed 
as we-uns cud do our own toting. Blamed independent 
— these mountaineers. 

June {who has been inspecting the place). Oh, 
Phil, isn't Mr. Ware's cabin adorable? I've never seen 
an3'thing like it. 

Phit.ip. He said if we wanted the simple life, we'd 
find it here. 

June. Yes, that day at your studio, when we were 
all longing to fly from tlic noise and hustle of the city 
to some quiet spot. It was good of Mr. Ware to in- 
vite us to spend two or three weeks at his place here in 
the mountains, wasn't it? 

Philip. Mighty good. This will be a new kind of 
house-party. 

Junp: {with girlish enthusiasm). Think of the good 
times we'll have ! 

Philip. Bully. 

June. And of all the things that can happen here 
in two weeks. {She gives Philip an alluring look, but 
he fails to understand the significance of her glance.) 

Philip. I bet we have a shooting scrap. 



A CABIN COURTSHIP 11 

June (iti wide-eyed astonishment). Shooting 
scrap? 

Philip. Yes, these Tennessee mountaineers are al- 
ways shooting each otlier u}). 

June. Oh, I wasn't thinking of wiiat would happen 
to the mountaineers. 

Philip {going up to tier). What were you think- 
ing of, June? 

June {trying to hide her emharrassvient). Well — - 
well — I was thinking what fun it will be to get along 
without any servants. 

Philip. I'm so glad that you're a good cook. 

June {somexchat dismayed, stops smiling). Oh, 
yes. You like my fudge, don't you ? 

Philip. You bet, and the girl for nic is the girl 
who can cook. 

June {xcith a sudden start). Phil — we've forgot- 
ten Aunt So])hronia. 

Philip {xcith a queer smile). How could anybody 
forget your Aunt Sophronia? 

June {going to the xcindoxv and looking out). She's 
sitting out there with that queer mountaineer, waiting 
for somebody to help her down from the old surrey we 
came out in. This is one place where automobiles can't 
go. 

Philip {xcith a laugh). Not on "these roads. 
{Boxi^ing.) I will go and escort Aunt Sophronia into 
this mountain retreat. 

June. Hurry and hel]) her with her traps. She's 
brought a whole library with her — to improve her 
mind while she's here. 

(Philip goes out up L. June takes off her hat and 



12 A CABIN COURTSHIP 

coat and sings a snatch of a spring song as she looks 
about the cabin. She goes to the preplace down H. 
and stands on tip-toe to look at the long ripe that rests 
on a pair of buck-antlers above the fireplace.) 

Mrs. Culpepper comes in, from outdoors, carrying 
an armful of books. iShe is middle-aged, stout, very 
serious and digniped. She sinks into a chair down L. 
with a sigh. 

Mrs. ('ulpepper. Living near to nature's heart is 
beautiful, but it has its drawbacks. I've forgotten 
that book on Psychical Research and there isn't a 
library or bookstore within miles. 

June. Aunt Soj)hronia, have you brought a cook 

Mrs. Culpepper {with disdain). Cook book? No. 

June. That's what we'll need here. Oh, how I 
wish I had taken that course in Domestic Science last 
winter. (Going up to Mrs. Culpepper and whisper- 
ing.) 1 can scramble eggs in a chafing-dish and make 
chocolate fudge. That's all I know about cooking. 
{With a look of dismay.) And Phil likes a girl who 
can cook, 

Mrs. Culpepper (xcith a pourish). We've come 
here to rise above the mundane sphere and live in a 
world of ideals^, as Murray Alden says. 

Philip enters from outdoors, loaded with baggage. 

Philip. I wish Murray Alden would carry his own 
baggage. Nice dodge of his to ask Carol to get out 
of the carriage a mile or two back and walk through 
the woods. 



A CABIN COURTSHIP 13 

June. But how delightfully romantic ! 

Mrs. Cui-pkppf.r. Yes, you know whtii we came to 
the turn in the roatl back there, ]Murray Alden said, 
'' I liear nature's call — the call of the open road." 
And Carol sighed, " It's wonderful to be near nature's 
heart." 

Philip {dumping his load with the other baggage). 
And before you could say Jack Robinson, they had the 
driver stop the horses. In a minute we were driving 
on and they were left behind — alone. 

June (laughing). Together, you mean, 

Philip. Lucky dog — Murray Alden. But how 
will Ware take it? (June goes and sits on table 
down R.) 

Mks. Culpepper (looking at June with disap- 
proval). June, it is not ladylike to sit on the table. 

June (swinging her feet). This cabin isn't a lady- 
like place. 

Philip (going to the fireplace). No — it's mascu- 
line. Look at this rifle. (]Mrs. Culpepper goes to 
fireplaee and looks at the rifle from a distance.) 

Mrs. Culpepper. I hope it isn't loaded. 

Philip (with a xvinh at June). Careful, Mrs. Cul- 
pepper. It may go off if you think it's loaded. You 
know you're always telling us that our thoughts have 
a great influence — the power to move things. (Mrs. 
Culpepper backs away from the rifle and sinks into a 
chair near table down R.) 

Mrs. Culpepper. It is just like Mr. Ware to keep 
a barbarous thing like that in his cabin. 

June. I wonder when Mr. Ware will be here. He 
said lie would be at the village quite a while, putting in 



14 A CABIN COURTSHIP 

a stock of supplies and then he would drive out with 
another team. 

Philip {going to place he left the baggage and he- 
ginning to put things in order). I hope Carol and 
Alden get here first, 

June. If Mr. Ware saw them coming in together, 
it might open his ejes. He seems as blind as a bat. 

Mks. Culpepper. None is so blind as he who will 
not see. He ouglit to release Carol from her engage- 
ment to him. 

June. Yes, everybody knows that Carol Pratt is 
Murray Alden's inspiration. They have been together 
on every possible occasion for the last two months — 
ever since he wrote that poem in praise of her beau- 
tiful hands. 

Mrs. Culpepper {with a lofty air). She never 
misses one of his lectures on " The Aesthetics of Life." 
She sits there completely engrossed in listening to his 
wonderful thoughts. I have noticed too that he al- 
ways walks home with her afterwards, but I wouldn't 
gossip about it for the world. 

June {jumping down from the table). No, indeed, 
we never gossip. {With a smile at Philip.) We just 
talk things over. 

Mrs. Culpepper. It would be a sad mesalliance 
for an idealistic girl like Carol to marry George Ware. 
He knows nothing of art or aesthetics. 

Philip. Oh, Ware's a good sort, if he hasn't much 
education. 

June. He uses such odd language sometimes. I 
suppose he learned it here in the mountains. 



A CABIN COURTSHIP 15 

Philip. I believe he used to live here, but he isn't 
much like the natives. Wai'e's a hustler and he makes 
money. 

Mrs. Culpepper. He will never satisfy Carol 
Pratt's artistic nature. A soulful man like Murray 
Alden is the one to fill her life. (June goes up to 
Philip, ■who is tricing to straighten out the baggage 
and kneels on the floor beside him.) 

June. Let me help you, Phil. Why do you sup- 
pose Mr. Ware invited us all to his mountain cabin.'' 
He must have known that this house party would give 
Carol an opportunity to see Murray constantly for 
two weeks. Mr. Ware is taking a great risk — unless 
he intends to give her up. 

Philip. We are all taking a risk to let you girls 
see so much of the captivating poet, for it's as clear as 
daylight that all the women are dippy about him. 

June. Oh, nonsense. (With a mischievous smile.) 
Of course. Aunt Sophronia worships at his shrine. 

Mrs. Culpepper (zcith reproof in her voice). June 
— how can you speak so flippanth' of the tribute I pay 
to a great mind. Murray Alden lifts one above this 
drab world into the rosy sphere of the ideal. 

June. That's why Carol is so fond of him — 
And then he makes love so beautifully. 

Philip (looking at June). How do you know? 

June. Oh, a poet like Murray needs lots of prac- 
tice in love-making. 

Philip (setting up his easel to the right of the win- 
dom). And he practices whenever there's a pretty girl 
around. 



16 A CABIN COURTSHIP 

June (going to the open window). I wonder how 
the affair will turn out. This is the very place for 
romance — the woods — the birds — Spring in all its 
beauty. 

Philip. Romance in a cabin. 

June (with a bewitching smile). Of course, I mean 
Carol's romance. Here they can play out their little 
game. 

Mrs. Culpepper (rising and going to other side of 
table). How can you speak of such a serious affair as 
a game.^ 

Philip. Marriage is like poker. It takes luck and 
pluck to play it. 

June. Is that why you don't venture? 

Philip (walking slowly toicard June). Yes, I 
haven't the i)luck to ask a girl to tic up to a poor 
fellow who paints pictures nobody buys and I wouldn't 
have the luck to win lier if I had the pluck to ask 
her. 

June. In cards or love, nothing ventured nothing 
won. 

Philip. If a girl would only show a fellow her liand 
it would be easier to play the game. 

June. Living under the same roof is like laying the 
cards on the table. 

Philip (giving a prolonged whistle as if an idea had 
struck him). I wonder if Ware thought of that. 

Mrs. Culpepper. One thing is certain — Mr. Ware 
Avill have to give up Carol, 

June (looking ont of the window). Hush! He's 
coming. 



A CABIN COURTSHIP 1/ 

Philip. And Carol and Alden not here ! 

George Wake comes in from outdoors with his arms 
full of packages of all sizes. He is a tall, lean, muscu- 
lar man of thirty. There is something unconventional 
and homespun about him. He gives the impression of 
strength by his quiet, but forceful manner. The lines 
about his mouth indicate a firm will and tenacity of 
purpose. He speaks in a slow, deliberate manner, with 
a slight suggestion of the mountaineer's drawl. 

George {stopping at the door). Howdy! I 
tliought you'd find the place all right. I wrote Bill 
Jakin to clean up the cabin and leave the door un- 
locked. You see, we trust our neighbors. The near- 
est one is a mile awa3^ 

Philip. Great place, you have here, Ware. 

George (coining down to C). Well, it's simple and 
I reckon what you folks want is the simple life. This 
isn't a millionaire camp in the Adirondacks with all the 
comforts of a New York hotel. No electric lights or 
bath-tubs here. 

Mrs. Culpepper {with affectation). It refreshes 
my town weary soul to be in this atmosphere. Of 
course, I shall miss the class on the Technique of the 
Shaw plays and the Monday morning talks on Theoso- 
phy {sighing) —but sometimes my mind is tired. 

George. That's why I invited you here — where 
we don't have any highbrow stuff. {He puts his pack- 
ages on the table down R.) I've fetched out some pro- 
visions, for I reckon even artists a,nd poets must cat. 

Mrs. Culpepper. Alas, in this mundane world it 



18 A CABIN COURTSHIP 

still seems necessary, but I look forward to the day 
when we shall rise to a more ethereal plane. 

June {looking at her aunt's stout figure). Then it 
will be easier for you to keep down 3rour weight, Aunt 
Sophronia. 

Mrs. Culpepper {indignantly). June, 3'ou know I 
have given up sweets and starches. 

George. Mrs. Culpepper, this is a good place for 
dieting. The grocery store is five miles away and we 
haven't any telephone. 

June. Oh, it's an ideal spot — so romantic. 

George {looking around). Where's Miss Pratt.'' 
Has she gone to her room.^ CJ^/'^-// «^^ ^ook self-con- 
scious.) 

June {in confusion). Well, — no. You see the 
woods were so beautiful that they — I mean she — she 
wanted to walk. 

George. But she might lose her way walking in 
the woods alone. {He starts towards the outside 
door.) I'll go a piece and see if I can find her. 

June {frying to stop him). Don't go. She'll be 
here soon. You see, — well — she wasn't all alone. 
(George turn^ back from the door.) 

George. No? 

June. Murray Aldcn was with her. 

George {hiding his feeling under an indifferent man- 
ner). Then we needn't worry. 

June. Oh, no — we shouldn't worry. 

George. It's a wild country round here and you 
girls must be mighty careful when you walk in the 
woods alone. {He holds up a big gnarled stick that 



A CABIN COURTSHIP 19 

was standing near the door.) Take a big stick like 
this when you go out. You might meet Mr, Rattler. 
{Comes down C.) 

Mrs. Culpepper {shudders). Rattlesnakes! Oh, 
what a dangerous place. 

Philip. I'll see that the girls don't go walking 
alone. {He goes to the window and looks out.) What 
a glorious view from the porch ! I'm going to paint it 
tomorrow. 

Mrs. Culpepper. And I am going to begin my club 
paper. It's an ideal atmosphere for writing. 

June. And I feel as if I could sing all day. 

Mrs. Culpepper. It's a wonderful place for con- 
genial spirits — artists, singers and poets. 

George {drily). I reckon it is. 

June. Listen — - 1 hear voices. 

{They listen while a man's voice is wafted through 
the open zcindozv. Murray and Carol pass the win- 
dow. George watches them.) 

Murray {off stage). 

Earth is waking from winter's sleep, 
Sunshine kisses hill-top and vale. 
All nature throbs with life and love, 
Spring cries " Awake " to wood and dale. 

Love, 'tis May, 'tis May, 

Greet the year's hey-day. 

Let us live, 'tis meet, 

Life is sweet, sweet, sweet. 

A girlish laugh and then her echo, " Sweet, sweet, 
sweet.'' George wcdks to the front of the stage and 



20 A CABIN COURTSHIP 

stands with, his hack to the window — serious, hurt, hut 
self -controlled, ('aroi, and Murray come in from out- 
doors. She is radiant, lie is dreamy. Carol has taken 
off' her hat and piled it with mountain laurel and pink 
and li'hite azaleas. Murray is empty-handed. Carol 
1*RATT is tzcentij-three, szveet, slender and xcith a flower- 
like heauty. She has a wistful charm that makes her 
lovahle. Murray Alden is about twenty-eight. He 
is effeminate, with dreamy eyes and a weak mouth. 
His hair is a little too long and his tie a Utile too 
large. He is self-centered and a poseur. 

Carol {holding out her flower-laden hat). Isn't 
this mountain laurel beautiful? 

June. It took you a long time to gather it. 

Caroi (throwing some flowers at June). And yai 
the walk seemed so short. ( With a sweet glance at 
Murray.) Didn't it.^^ 

Mitrray {with affectation). The moments flitted by 
on golden wings. 

Mrs. Culpepper. Mr. Alden always says things so- 
heautifully — so poetically. (Murray hows and smiles 
with the condescending air of a man accustomed to the 
admiration of women. George looks at Carol with 
longing and affection.) 

Carol {with enthusiasm). The woods are wonder- 
ful — laurel and pink and white azaleas everywhere — - 
little wild creatures jumping from the path at every 
step — wood thrushes singing — lights and shadows on 
the distant mountains — Oh, what a world of beauty, 
romance and — love. 

Murray. It's an inspiration. Another stanza comes 
to me. {All except George turn toward Murray.) 



A CABIN COURTSHIP 21 

Spring is budding on the hedge-rows, 
Sunlight ghmmers through leafy bough, 
Sap is surging through the tree trunks, 
Birds are calling to their mates now, 
{Turning to Carol.) 

Love, 'tis May, 'tis May. 
Greet the year's hey-day. 
Let us live, 'tis meet. 
Life is sweet, sweet, sweet. 

Cakol (sighing). Beautiful. 

Mrs. Culpeppkr. Lovel3^ 

June {clapping her hands). Bravo. 

Carol. Let's put the flowers in water. 

George, We haven't a vase in the cabin. {He 
looks around, goes to shelf on wall down It. and takes 
down an old-fashioned pitcher.) Will this old pitcher 
do.? 

Carol. Just the thing. AVhere's the water? 

George (putting the pitcher on the table down R.). 
There's a spring down in the glen. (He picks up a tin 
pail near the fireplace.) I'll go and fetch the water. 

June. Oh, let Phil and me go. 

George (handing the pail to Phil). I reckon the 
way will seem short for two. 

June. Isn't it funny to have to go outdoors for 
water.'' 

Phil. Yes, the simple life ended when water was 
first pumped into the kitchen and now we city-folks 
don't ask a friend to stay all night unless we can offer 
him a private bath. 

George. No bath-tubs here. 



22 A CABIN COURTSHIP 

June. We don't need them. ■ (Embarrassed.) 
What I mean is — we like simplicity. 

Cakol. Yes, here in this mountain cabin we can 
live in a sweet and simple way. We can be free, 

June (waving her arms). Free as the birds of the 
air. 

Philip. Free from debts and duns. 

Mrs. Culpepper. Free to dwell upon the heights 
in a rare and pure atmosphere. 

Murray. Free from the tyranny of modern con- 
veniences. Let us shed things. 

George (drily). Shed things. Hum! 

Mrs. Culpepper. I am afraid that ]Mr. Ware is 
not in sympathy with this artistic company and our de- 
sire to live the simple life. 

George. When I was a boy, I lived this simple life 
you folks talk about. We don't shed things here in the 
mountains. We haven't anything to shed. This is the 
Land of Do-Without. 

Carol (impafienfl/j). George, you arc so prosaic. 
You don't feel the poetry of life. 

George. I reckon I better leave the poetr}^ to Al- 
dcn. 

June. Come on, Phil, let's get the water. (June 
and Philip go to the outside door, swinging the pail 
between them. George follows them. He hands Phil 
the big stick and opens the door.) 

George (pointing down the path). Go down that 
path until you come to the big poplar and you'll find 
the spring. (June and Philip go out, passing the 
open jmndow.) 



A CABIN COURTSHIP 23 

Mrs. Culpepper {picking up an armful of books). 
I think I will go to my room and unpack. 

George (crosaing to door tip R. and opening it). 
This is your room, Mrs. Culpepper, and opening off' 
from it is one for the young ladies. Which is your suit- 
case? {He goes to the pile of baggage down L.) 

Mrs. Culpepper {going toxeards door up R.). The 
one marked Sophronia Culpepper. 

George {picking up suit-case). I'll tote it to your 
room for you. 

Mrs. Culpepper goes out up R. followed by George 
with suit-case. Murray goes to Carol, takes her 
hands in his and looks into her eyes with ardent feeling. 
A queer looking figure in a huge, black floppy hat, peers 
in through the zvindow. 

Bill Jakix {leaning through tlie windoxc). Whar's 
Mr. Ware? Be he hyar? (Carol and Murray start 
in embarrassmeut.) 

Carol. Yes, this is Mr. Ware's cabin. 

George {coming into the room at the sound of 
voices). Howdy, Bill. Come in. 

Bill Jakin enters from outside. He is a tall, lank 
mountaineer, with dark hair and beard. He wears a 
dark blue shirt, brown jeans and a big, black floppy 
hat. He has a grave and deliberate bearing and car- 
ries himself with proud independence. He speaks with 
a drawl and walks with a shambling gait and yet has 
an unmistakable dignity. As Bill enters George 
comes to C. and holds out his hand to Bill, while 
Carol and Murray cross to L. 



24 A CABIN COURTSHIP 

George {shaking hands uitJt Bill), How are a'ou, 
Bill? 

Bill. Prutt}- peart. Glad ter see ye. You-uns 
ain't been in these pairts since ye kem back from the 
other world. 

Geouge {laughing). Do you mean since I came 
back from France after the war.'' 

Bill. Yes. Did ye see any of our boys in them 
furrin pairts .f* 

George. There were lots of the mountain boys over 
there and they were always in the hottest fights. 

Bill {with slow, deliberate drawl). I reckon us 
squirrel hunters can shoot some. 

George. I 'low you can. {Looking at Carol arid 
Murray.) Oh, Bill, I want you to know my city 
friends. Miss Pratt and Mr. Alden — ]Mr. Jakin. 
(Carol smiles and Murray gives Bill a stiff, patroniz- 
ing bow.) 

Bill {looking at them with curiosity). Whar do 
you-uns hail from? 

Carol. We came from Chicago. 

Bill. Prutty big town, hain't it? 

Murray {pompously). It's one of the great cities 
of the world. 

Bill. La ! I never seed a city. I was horned in 
the kentry and ain't never been out o' hit. I hev no 
call ter go nowhar else ez I knows on. 

George. Bill, I want our city friends to see some- 
thing of our life here in the mountains. 

Bill. We-uns hev ter scrabble fer a living up hyar. 
{He turns to Murray.) Mister, what mought you- 



A CABIN COURTSHIP 25 

MuRiiAV {proiuU})). I'm a poet. 

Bill {gnutly puzzled, looks at Murray with curi- 
osity). I .seed fanners, an' storekeeper.s, an' black- 
smiths, but I ain' never seed a po-ut afore. 

Carol. !Mr. Alden writes verses and he has come 
to the mountains for inspiration — to put all the 
beauty of your woods into words. 

Bill. Good la! Ain't that the beatinest? Whut 
ye aimin' ter do wi' the words.'' 

Murray {xiitli scorn). I'm afraid Mr. Jakin can- 
not understand poetry. Come, Miss Pratt, let us go 
out for a view of the distant mountains. (Carol and 
Murray go outdoors. Bill stares after them.) 

Bill. I reckon that thar slick-faced dude an' that 
prutty gal hev been a-keepin' company tergether some. 

George {xcith a Keen glance). Why do you think 
so.'' 

Bill. Waal. I seed 'em through the window afore 
I kcm in an' they war holdin' hands. 

George (froK'ning, rcalks impatiently away from 
7cindozc). !Miss Pratt likes poetry. 

Bill. City gals air quar. Mountain gals like a 
7nan. Waal, George, ye ain't mucli on sweet-heartin' 
but I 'low a cabin air a good place fer courtin'. 

George. I remember you were courtin' Liz the sum- 
mer I left the mountain to seek my fortune in the 
world. 

Bill. Hit war fifteen years come June an' Liz war 
the Belle of the Mountin'.' 

George. Did Big Pete ever come back to the 
mountain after you and Liz were married? 

Bill. He's afeared to kem back. 



26 A CABIN COURTSHIP 

George. That was a hard fight you and Big Pete 
had for Liz. 

Bill {walking over to tlie -fireplace). We fit fer her 
and I won. Then all Pete's folks war agin me and my 
folks. 

Geokge. There was a lot of shooting in the moun- 
tain that summer. 

Bill {fiercely). Arter Pete burned down my barn 
an' pore live critters, we druv him from the mountin'. 
I tole him never to kem back no more. 

George {xvith great earnestness). Bill, this shoot- 
ing must stop. These feuds are ag'in the law and ag'in 
religion. I thought our mountain folks were going to 
give up all this fighting. 

Bill {with a sullen look). Pete done me dirt — an' 
I'm goin' ter wipe 'im out, ef he comes sneakin' back 
hyar. 

George. There has been many a fight for a woman 
here, but I'll never rest, until the mountain — my 
mountain — is free from these wars. 

Bill {looking at the rifle). I kem ter ax ye — cud 
I borry this rifle .'^ Mine's plumb onery. 

George {looking at Bill with a keen, penetrating 
glance). What do you want the rifle for? 

Bill {after a pause). Waal — I'm fixin' ter go 
squirrel-hunting. (George goes to the f re place and 
takes down the rife.) 

George. If it's only squirrels that you're wanting 
to shoot, you can have the rifle. i\Iy dad gave me this 
gun when I was a boy, and after all the bloodshed I 
saw in the mountains I swore that this gun should never 
shoot a human-crittur. 



A CABIN COURTSHIP 27 

Bill. Mebbe, ye want it ter go squirrelin' yourself. 
Carol and Murray come in from outdoors. 

George No. I'll not be squirrel-hunting this trip. 
(He hands the gun to Bill.) Take it, Bill, and make 
good use of it. 

Murray. I hope there won't be any shooting while 
we are here. 

Bill (with contempt). You-uns can stay in the 
cabin with the women-folks when the men go hunting. 

June and Phil rush in from outdoors, very much, 
excited. Phil has the pail of xcater and June, th.e big 
stick. 

June (out of breath). Oh, this is such a Avild place. 
We hadn't gone past the first clump of laurel bushes be- 
fore we saw a rattlesnake. 

Philip. It was only a copperhead, June. 

June. I know it rattled, if it was only a copper- 
kettle. 

George. Be prepared for adventures, Miss June. 
Here you will have to match your wits against the 
forces of nature and there'll be no help from servants 
or hired guides. 

Bill. I reckon I'd better git on. 

George. Tell Liz I'd like to see her and the chil- 
dren. 

Bill. If you-uns can stand what we-uns has ter, 
why come over to our cabin and I'll ax the woman if 
she can git ye a bite. 

George. Thank you, Bill. That's like old times. 
I love the mountain. My own folks are all gone, but 



28 A CABIN COURTSHIP 

there's something about the place where you've lived 
as a bov that keeps calling you back. 

Bill. Me and my old woman air mighty glad ye 
built this cabin hyar. 

George,. As long as you and Liz are here, I'll be 
coming back to it, now and then. 

Bill. Ye'll allers find ycr welcome in these pairts. 
Thank ye fcr yer gun. Good-day. (He goes out- 
doors.) 

Murray. A crude fellow — this mountaineer. 

George. He's my friend. 

(June pUs the old pitcher with renter and Carol ar- 
ranges the flowers in pitcher.) 

Positions 
Carol Murray 

June George Philip 

June. I'm going to change my dress for supper. 

Philip. Put on a cook's apron, June. I'm as 
hungry as a bear. 

June {looking dismayed). Am I to be the cook for 
this party? 

Philip. Sure. We're counting on you to serve our 
meals. (George picks up June's travelling hag and 
carries it to door vp R.) 

George, This way, Miss June. 

June {at the door). I know we're going to have a 
perfectly lovely time. {Goes out.) 

George. The men's sleeping quarters are in the loft 
upstairs. {Crosses to door L.) We go through the 
kitchen this way. {He opens the door L. Murray 
gives Carol a long, lingering look and Philip picks up 
a travelling bag.) 



A CALUX COURTSHIP 2-) 

Philip, There's your suit-case, Alden. You might 
i-nrry it upstairs. I brought it in for you. 

MuHRAY {dreamily). I liad forgotten all about it. 
Another stanza of my spring poem was taking form in 
my mind. (Murkay and Phimi* zcith their baggage go 
o/it L. George and Carol are left alone.) 

Carol {re-arranging the floxcers in the piteher). It 
was good of you, (ieorge, to invite us all here, 

Gkorge. I did it for you, little girl. I want you 
to have what you want. 

Cakol. I have been longing for this — the beauty 
of natui-e — poeti-y — congenial companionshij). 

George {looking at her with a penetrating glanee). 
And for two or three weeks you are to have all that — 
nature — poetry — and congenial com})anionship. 

Carol. Oh, iCs wonderful, 

George. I hope you'll be comfortable. Life here 
is a real return to nature. It's })ioneering — - all right. 

Carol {sxceetlij). I know you'll keej) us comforta- 
ble. You always know how to do the practical things, 

George, But I'll not be here. (Carol, in great 
surprise, drops the flozcer she holds and looks at 
George,) 

Carol. Not be here? What do you mean.'' 

George. I must catcli the next train back to 
Chicago, 

Carol. Wh}', George, you nmstn't leave us. We 
depend upon you to — to do things for us, 

George, Phil will be here. 

Carol {zcith disdain). Oh, Phil, 

George, And you'll have Alden, 

Carol {doubtfulli/). Yes — we will have Mr. Al- 



30 A CABIN COURTSHIP 

den, but I. thought, of course, you would stay for your 
own house-part}'. 

George, \o, I just came down to see you settled. 

Carol (zaifli intense feeling). It isn't right for you 
to go off this way. Why are you going.'' 

George {laconic ally). Business. 

Carol {impatiently). Business, business. It's al- 
ways business with you. A woman can't have a more 
dangerous rival than business. 

George. I am leaving you with the things you want 

— poetry and congenial companionship. 

Carol {in great excitement). George, you don't 
know how important it is for you to stay here — how 
much is at stake. 

George {loohing at her with keen eyes). No? 

Carol. If you really cared for me you would give 
up everything to stay here. 

George {after a pause). Mebbe it's because I care 
that I'm going awav. 

Carol. For the last time, I ask you, — wqll you give 
up your business aff'airs and stay? 

George. I'm sorry, little girl, but it's impossible. 

Carol {turning away coldly). \'ery well. I'm glad 
that all men are not so practical. I'm thankful there 
are some n)en with a feeling of romance. You have no 
more sentiment than that mountaineer who calls his wife 

— the old woman and doesn't know what love is. 
George {slowly). Yes, I reckon I am like Bill 

Jakin. I belong to tlie mountains too. I was born in 
a cabin like this — only smaller — one room and a 
lean-to. My folks were powerful pool'. I milked the 
cow, went hunting; and worked in the fields — lived on 



A CABIN COURTSHIP 31 

co'n bread and pork. In your Avorld of ease and com- 
fort you know nothing of a life like this. 

Carol. The mountaineers seem so crude. 

George, Yes, we are, because we don't get a chance. 
I went to school two months in the 3'ear — and mighty 
poor schooling it was. That's why I can't talk like 
your congenial friends. 

Carol (repentant). Oh, I didn't mean you, George. 

George. I knew nothing of the outside world until 
a circuit-rider came here and told us about it; Then 
I wanted to go beyond these hills. (Going to the xcin- 
dow.) Out there where the sun seems to blaze a trail 
- — and I kept on wanting to go until — (With deter- 
mination.) I found the way. 

Carol (looking at him in wonderment). George, 
you always find the way to the thing you want, don't 
you ? 

George. There are some things a man can get by 
fighting for and there are others that aren't won that- 
away. (Looking at her with tenderness.) Some- 
times, the thing a man wants more than all the world 
is as hard to reach as that sun going down over there. 
(Abruptly.) I must hurry to catch that train. The 
team is waiting for me down the road. Goodbye, Carol. 
Have a good time. (At the door up L. he turns and 
looks at Carol with longing. He goes out, leaving the 
door open. Carol stands still a moment and then goes 
to the door and calls.) 

Carol. George ^ — George. (iVo answer.) 
Murray comes in from L. 

Murray. Carol. 

Carol (turning from the door and coming to center 



^2 A CABIN COURTSHIP 



of room). George lias gone back to the city. Busi- 
ness affairs. 

.AIiRKAv ( smUing). That's the way witli these prac- 
tical man — always business first. 

Carol. Oh, I wish he hadn't gone. 

Murray. Why, Carol.? 

Carol. Murray, do you think it is right for us to 
stay here without him.? 

Murray. Why not.? 

Carol. You see — you see,— George doesn't know 
how we feel. 

Murray {scornfully). He is too prosaic to under- 
stand your poetic nature. He is clay and you are a 
flower. 

Carol. You mustn't talk that way. It isn't riHit 
I can't let you. ' " 

Murray {going up to Carol). Carol, why will you 
starve your soul and refuse my adoration.? 

Carol. I don't know what' to do. Companionship 
with you means so much to me, but we must not forget 
that I haye promised to marry George. 

Murray. Here in this beautiful ''spot, don't you 
feel the call of life — and of loye.? 

Carol {yielding). It is like a dream come true 
MuRHAY. Here — far from the world — soul calls 
to soul and we will think of nothing but the joy of loye. 
{He takes her in his arms.) 

June rushes into the room from up If. (\uiol and 
Murray turn from each other in embarrassment. 

Junk. Oh, Mr. Ware, plcise come and close the 
shutters for us. 



A CABIN COURTSHIP 33 

Carol. Mr. Ware has left for the city — on pres- 
sing business. 

June (rcith a significant glance at Carol and 
Murray and a laugh). Oh, I tliink he's left pressing 
business. 

Mrs. Culpepper, in an elaborate negligee, bursts in 
from up R. 

Mrs. Culpepper {in great excitement). Mr. Ware, 
Mr. Ware, come quick. 

Carol {impatiently). Mr. Ware is not here. 

Mrs. Culpepper (stunned). Not here? {Excited.) 
And there's a wild animal flying around my room. 

June {laughing). It's only a bat. 

Philip appears at door L. with his face covered xcith 
soapy lather and a razor in his hand. 

Philip. Say, Ware, how do you shave without a 
mirror.'' 

Carol {hopelessly). Mr. Ware has gone. 
Philip. Gone? {He gives a long, low whistle.) 
Positions. 
Mrs. Culpepper. 

Carol Murray. 

June. Philip. 

Curtain. 



A CABIN COURTSHIP. 

The Second Act 

Scene: The same as Act I. Two weeks later. 
The young people have decorated the cabin with wild 
f^oieers and ferns. Philip's easel with a sketch stands 
to the right of the window. Mrs. Culpepper's books 
are on a shelf R. A table L. is just as it was left after 
a meal, with disarranged and soiled dishes. It was evi- 
dently set for pve and the chairs have been pushed back. 
Murray comes in from outdoors with some wood in 
his arms, puts it down in front of the fireplace, kneels 
and tries to build a fire. After several unsuccessful 
attempts, he stops, takes a writing pad and pencil out 
of his pocket and begins to write. He becomes ab- 
sorbed in his writing. He murmurs to himself. 
Murray. 

Buds are bursting into flowers, 
Dew is sparkling on .uncut grass, 
Comrades shout on the open road, 
Blithe youth whispers to bonny lass : 
Love, 'tis May, 'tis May. 

Mrs. Culpepper with a shawl over her shoulders en- 
ters from her room up R. She sees Murray writing 
and the freless fireplace. She watches him with grow- 
ing indignation. 

Mrs. Culpepper. Haven't you built a fire yet.'' I 
am slowly freezing to death. (Shivers and drazcs her 
shawl closer.) I know that this damp weather will 
34 



A CABIN COURTSHIP 35 

give me the rheumatism. I feel it creeping over me 
now. I never realized before how comfortable steam 
heat is. There ought to be some way of making this 
cabin more livable. {With a despairing note in her 
voice.) INIurray Alden, why haven't you built that fire.'' 
(Sits down near table H.) 

Murray (starting as from a reverie). I began to 
build the fire and then I thought of a few lines I wanted 
to add to a poem and I forgot the fire. {He studies 
over the lines on the paper.) "Blithe youth whispers 
to bonny lass." I have worked and worked over the 
metre in the last stanza, but the beat isn't right yet. 

Mrs. Culpepper. How can you be writing poetry 
when we are cold and damp and uncomfortable? 

Murray {reproachfully). How you have changed 
in two weeks. I thought you longed to live in an atmos- 
phere of poetry. 

Mrs. Culpepper. I do, but I want the chill taken 
off. {Shivering.) Of course, it has been a wonderful 
fortnight. We have been living on such a high plane, 
— but I would like a little comfort. 

Murray {dreamily). It's a time never to be for- 
gotten. 

Mrs. Culpepper {with asperity). Never. — Oh, 
I'm not sorry we came, but I don't want to have the 
rheumatism. We must have some consideration for 
our bodies and when you are slowly {shivering) freez- 
ing to death, you cannot be in a perfectly happy frame 
of mind. {She rises and goes to select a hook from the 
shelf R.) I'm going to read Prof. Loftus on " Soul 
^'ibrations." {At door up R.) Do build that fire. 
{She goes out shivering.) 



36 A CABIX COURTSHIP 



Murray, who has been engrossed in his writing dur- 
ing Mrs. C'ilpeppkr's harangue, sighs, puts down pen- 
cil and paper and tackles the fire again. Carol comes 
in from the kitchen. She is dressed in a light summer 
frock over zahich she wears a sweater coat. She car- 
ries a kerosene lamp and a greasy clotli. Site sighs 
when she sees Murray and the fireless fireplace. 

Murray {looking up). Carol, (Carol puts down 
the lamp on table R. and takes off the chimney to ad- 
just the wick. Murray goes to her and takes her 
hands in his.) You should not spoil your beautiful 
hands with this menial work. 

Carol. The lamp gave such a poor light last night 
that somebody had to clean it before we could use it 
again, but it is horrid, greasy work. 

Murray. Come, my flower of the Woodland, let us 
forget these trivial things. What a happy two weeks 
we have had together ! 

Carol. Yes. {Hesitates and glances at the fire- 
place.) But don't you think it is cold here? Please 
start the fire. 

Murray {looking at the fireplace in a helpless way). 
Yes — yes — Carol — presently. I want to talk with 
you noM'. {He leads her to the fireplace seat and they 
9it down.) Oh, Carol, what a joy it is to be with you, 
my inspiration. I could write poetr}^ all day with you 
near to inspire me. {With a self-absorbed air.) All 
nature is crying 'Tis May, come and live. How happy 
one can be far away from the world, with nature and 
those we love. 

Carol {with hesitation). Yes — yes. {Shiver- 



A CABIN COURTSHIP 17 

ing.) But don't you think we ought to have a fire, 
Murray? 

Murray. Ah, Carol, does it matter whether there 
is a fire on the hearth or not as long as the sacred 
flame of my love is lighted at your altar? But I'll 
start the fire since you wish it. (With a helpless air.) 
That is, I'll try. (He kneels to light the fire while 
Carol watches him.) 

Carol. I never dreamed that it was so hard to 
build a good fire. We have always lived where the 
fire came ready made. You seem to have some diffi- 
culty with it. (Going to Murray.) Let me help. 
Why — the wood is wet. 

Murray. We forgot to bring it in last night be- 
fore the rain. (Murray stands helplessly hy zvhile 
Carol tries to light the fre.) 

Carol (with a dejected air). This wood won't 
burn. W^hy didn't somebody remember that we would 
need wood for a fire? 

Murray (impatiently). Really, we ought to have 
servants to do this work. 

Carol (getting up from the hearth, xeith a sigh). 
We'll have to get along without a fire. There are such 
a lot of things we city folks don't know how to do. 
But it is wonderful to be here together, isn't it? 

Murray. A golden dream. 

Carol (sadly arid wistfully). If dreams could only 
last. 

Murray (with ardor). Carol, let's make our lives 
a dream that will last forever. 

Carol (drawing back). You forget — George. 

Murray. Do vou love him? 



38 A CABIN COURTSHIP 

Carol (shaking her head slowly and putting her 
hand on his arm). Not as I love you, Murray. When 
I am with George I feel that I .can depend on his 
strength and I know that he will take care of me, but 
with you it is different. You understand me. 
(Wistfulh/.) I have always longed for romance and 
you have brought it to me. 

Murray. Then, Carol, come to me. Will you not 
be happy to feel that you are the inspiration of poems 
that may live for ages.'' 

Carol (carried away by her emotions). Yes — 
yes. It is poetry and life and love that I want. 
(Carol holds out her hands to him. He takes her in 
his arms and kisses her.) 

Murray. My Carol — my inspiration. What a 
glorious thing is love! (Egotistically.) Today, I 
shall write the greatest poem I have ever written. 
(Carol draws away in surprise and reproach.) 

Carol. Murray, do you never forget your poetry, 
even when you are telling a woman you love her.'^ 

Murray (with a superior air). Carol, my love is 
the inspiration of my poetry. A writer feeds on love. 
I turn every experience into words — beautiful words. 
(Carol walks away from him in doubt and perplexity.) 

Carol (/ifl// to herself). I wonder — I wonder if 
poetr}^ may not be as dangerous a rival as business. 

Murray. When is Mr. Ware coming.^ 

Carol. I expect him today, but he may not come 
until tomorrow. (She takes a letter out of her 
sweater pocket.) Bill Jakin brought this letter yes- 
terday. It's the only one George has written since we 
came here. (Reading letter.) "Dear Carol: If af- 



A CABIN COURTSHIP 39 



fairs at the lumber yards permit, I will arrive at the 
cabin Tuesda}'. I hope you. are having a good time. 
As ever yours, George," 

Murray {rcitli disdain). Does he call that a love 
letter? 

Carol. George doesn't write poetr}', but he. usually 
sends me longer letters than that. {Slie looks at the 
letter with a puzzled expression.) I can't understand 
his actions since we came here. It seems so strange 
for him to go back to the city and leave us here to 
struggle for food and fire and the ordinary comforts of 
life. 

Murray. It is a very inconsiderate way for him 
to treat you. 

Carol. He has always been thoughtful of me and 
I think he must have a reason for acting this way. 

Murray. Can't you see, Carol, that George Ware 
is so absorbed in his work and practical aflPairs that he 
has no time for love? 

Carol (looking at the letter again). I know this 
letter seems very matter-of-fact and yet George has al- 
ways been doing lovely things for me ever since we were 
engaged. 

Murray. A man who won't leave his business for 
you now, will neglect you after marriage. A hum- 
drum fellow like Ware will never make 3'ou happy. 
(Going up to her.) You crave poetry and romance 
and these I lay at your feet, my beautiful flower — my 
inspiration. 

Carol. Oh, ^Murray, it is so hard to see the way. 
I'm like a child listening to a fairy tale and asking, 
"What will happen next?" 



40 ^.A CABIN COURTSHIP 

Murray (putting his arm around her). Dear fairy 
child, I will tell 3'ou what will happen next. Tonight, 
you and I will slip away and go out into the world to- 
gether. 

Carol {drawing away). No — no — I can't do 
that. I can't break my word to George. We've been 
engaged two years. I am bound to him. 

Murray. You and I are free spirits and should not 
be bound by the practical ideas and stupid conventions 
of others. 

Carol. But the world ma}' not understand that we 
are free spirits. And you know, Murray, it is hard 
to live like a spirit when you are a human being. 

Murray {with reproach). I thought I had taught 
you to live on a higher plane. 

Carol. Yes, Murray, we have been trying to live 
on a high plane ever since we came here and there have 
been many puzzling problems. {She looks into the fire- 
less fireplace.) Oh, it's so cold. 

^Murray {turning axvay with wounded pride). Of 
course, if 3'ou are going to be held back by such trivial 
things as fires and food, we must give up our great ad- 
venture. 

Carol {still looking into the fireplace). It is so 
hard to see the way. I wonder why George left us 
here alone. 

Murray. George is an uneducated man. 

Carol. Self-educated, you mean. 

Mi^RRAY. He is crude and calls this Bill Jakin his 
friend. 

Carol. George was born here in the mountains. 

Mi'RRAY. Yes, and you'll find that he is as rough 



A CABIN COURTSHIP 41 

and primitive as these backwoodsmen — a cave man, — 
Didn't vou see him hand his rifle to Bill Jakin and tell 
him to make good use of it? 

Carol. Yes, I wondered why he gave a rifle to a 
dangerous man like Bill. 

MuRKAY. No doubt Ware encourages the natives 
in their feuds. Do jou want to marry a man who is 
like these mountaineers? 

Carol {shudders). No — no. 

Murray. Then go away with me tonight. 

Mrs. Culpepper comes in from up R. with a book in 
her hand. Murray and Carol separate with a guilty 
start. 

Mrs. Culpepper. Oh, Murra}', come and try to fix 
that leak in my room. (Murray loohs exasperated at 
the interruption.) I am reluctant to ask a poet to do 
prosaic tilings like that, but when it rains the water 
drips on my bed. A storm is coming up and that leak 
ought to be mended. 

Murray {im patient] ij). Really, we ought to have a 
servant about the place to perform these tasks. 

!Mrs. Ct'lpepper {with a scornful look at Murray). 
We do need somebody who can do things. Poets are 
delightfully romantic, but we need a man who can build 
fires and mend leaks. {She puts the book on " Soul 
Vibrations " on the shelf R.) 

Murray. Show me where the leak is. 

Mrs, Culpepper {witJi despair in her voice). Over 
my bed, {She goes into her room.) 

Murray {turning to Carol and speaking hurriedly). 
Carol, I will see one of the neighbors about a team to 



42 A CABIN COURTSHIP 

drive us to town. Meet me down at the turn in the 
road where the big sycamore stands. 

Carol. When ? 

Murray. At eight o'clock tonight. 

Carol. I may not be alone with you again. I 
think George will be here this afternoon. {She stops 
— thinks — looks around and goes to a jar of laurel 
standing on table R.) After I have seen him, if I de- 
cide to go away with you tonight, I'll take a spray of 
laurel and put it in my hair. 

Murray. I'll have the team waiting. You can slip 
out — 

Mrs. Culpepper (off stage). Murray Alden. 

Murray. Coming, Mrs. Culpepper. (To Carol.) 
Tonight, my love. 

Carol. The laurel. (Murray goes into Mrs. 
Culpepper's room. Carol gazes pensively into the 
fireplace and then goes to the table L. and begins to 
pick up the dishes.) 

JuxE, in a big gingham apron, comes in from the 
kitchen. 

. June (holding out a pan of biscuits). Look, Carol. 
Did you ever see biscuits like these.'' (Carol goes over 
and examines the biscuits.) 

Carol (zdth a laugh). No — never. 

June. They're nice and round, but they are flat 
as pancakes and as hard as^ rocks. (She puts the 
biscuits on table L. and sinks into a chair.) Oh, I'm so 
discouraged. This is the second failure today. That 
omelette I made for lunch was the leatherest thing I 



A CABIN COURTSHIP 43 

ever ate. Oh, dear, oh, dear. And Phil likes a girl 
who can cook. 

Carol (scraping the dishes). Here's some of the 
omelette. Even the mountain air doesn't give the men 
an appetite for our cooking. 

June. I know that my value in the matrimonial 
market is going down fast. 

Carol. Don't take the cooking so serioush', June. 

June. It's all right for you to take that attitude, 
Carol Pratt. You have two men so deeply in love 
with you that they would eat hay if served by your 
beautiful hands, but my case is different. I thought 
this house-party might — well {with a laugh of em- 
barrassment) - — help things along with Phil, and now 
trying to cook has spoiled my chances. 

Carol. The house-party isn't over. Many things 
may happen yet. 

June. All the romantic things happen to you. I 
never dreamed that cooking was so important. I can 
sing and dance all the newest steps. (Jumps up and 
dances a few steps.) Wouldn't you think that would 
make a man happy and contented ? But no — a girl 
must know how to feed him to keep him. Carol, what 
do you suppose happened to these biscuits. f* 

Carol. Where's your cook-book? 

June. In the kitchen. I propped it up in front 
of me while I mixed them and I thought I did ever}'- 
thing the book said. 

Carol. You get the cook-book while I pick uj) the 
dishes. I wish we could throw them out when they are 
dirty. I've washed dishes until last night I dreamed 



44 A CABIX COURTSHIP 

of dishes, stacks and stacks of dishes, piled high on all 
sides. 

June. I have a plan. Let's have the men draw- 
lots for the privilege of washing the supper dishes. 

Carol {shaking her head). That would never do. 

June. Why not? 

Carol. It might fall to Murray and he couldn't 
do it. 

June. Your dear poet hasn't done a stroke of work 
since we came here. 

Carol. A gifted man like Murray Alden should not 
he expected to do commonplace things. We ought to 
he glad to wait on a ])oet. 

JuxE {at ihe door L. ). You are a good little waiter. 
{She goes into the Kitchen.) 

Carol jrichs up a few dishes and then goes and takes 
a spray of laurel out of the jar, looks at it and puts it 
hack. June is heard singing in the kitchen. She 
comes in studying the cook-book. 

June {reading from cook-book). Two pints of 
flour — yes — butter the size of an egg — yes, three 
heaping teaspoonfuls of baking-powder — oh — that's 
what I forgot, the baking-powder. {Sighs.) Who 
would have thought that a little thing like that would 
make such a difference ! Don't tell Phil. 

Carol. We can hide the biscuits and he'll never 
know. 

June {looking around in great excitement). Where 
shall we put them.'* (Carol carries the biscuits to the 
table in front of -window.) 



A CABIN COURTSHIP 45 

Carol. Let's hide tlieni behind these phints. 
(June goes up and snatches the biscuits away.) 

Jt'NE. No — no — that's too near Phil's easel. 
(.,)uick. I think I hear somebody conung. 

Carot.. Hide them behind some books. (.June 
rushes to the shelf R., near the preplace, takes down 
some books, puts the pan of biscuits on shelf and 
places books in front of it.) 

JuxE. Now, they are safe. Phil will never go to 
the shelf where Aunt Sophronia keeps her books. 
(Reading the titles on the books.) He isn't interested 
in Hindu Philosophy or Soul Vibrations. 

Mrs. Culpepper conies in from up R., leaving the 
door of her room open, showing Murray, on top of the 
step-ladder, helplessly trying to mend the leak in the 
ceiling. After a few minutes of futile effort he stops, 
takes a note-book a/nd pencil from his pocket and be- 
gins to write in blissful oblivion of his surroundings. 

Mrs. Culpepper. Carol, when is Mr. Ware com- 
ing.? 

Carol (with a little start). This afternoon or to- 
morrow. Why .'' 

Mrs. Culpepper, I hope he'll come before we have 
a storm. Murray is trying to mend that leak, but he 
goes about it as if he had never handled a hammer be- 
fore. (June bursts out laughing.) 

Carol. What's the matter, June.'' 

June. I had a mental picture of Murray mending 
a roof. 

Mrs. Culpepper. Come here and 3^ou will have a 
real picture of him. 



46 A CABIN COURTSHIP 

(Mrs. Culpepper goes towards the open door. 
Carol and June follow her and look in. When Mrs. 
Culpepper sees Murray writing poetry in entire for- 
getfulness of the leak she gasps.) 

Mrs. Culpepper {in exasperation). Murray Al- 
den! 

Carol {putting her finger on her lips). Husli. 
Don't disturb him. The fires of genius are burning. 
He may be composing a great poem. 

June. The fires of genius won't keep out the damp- 
ness. 

Mrs. Cui pepper. And a poem won't keep the rain 
from pouring on my bed. Oh, I wish we had somebody 
who could do things. 

Carol. I wonder why George went away, {She 
picks lip a tray of dishes and goes into the kitchen.) 

Enter Philip from outdoors with palette and 
brushes. 

Mrs. Culpepper. Philip, I don't suppose that your 
artistic soul can come down to the prosaic plane either. 

Philip. What for.? 

Mrs. Cui^pepper {with a glance toward the open 
door). To mend a leaky roof. (Philip looks up at 
Mt^rray and whistles.) 

Philip. I'd call that rising to the prosaic plane. 
It's time all leaks were mended for a storm is coming 
up. I just saw some great buzzards flying swiftly 
southward and the clouds are rolling up in a white 
mist. 

June. Oh, dear, what shall we do.'' Phil, have you 
been in town for the mail.'* 



A CABIN COURTSHIP 47 

Phil (giving a long, low whistle). Mail? No, I 
forgot it was my turn to tramp to town for the letters. 
I've been sketching down by the cliff. There's a superb 
\icw^ there. (Murray, roused out of his reverie by the 
voices, comes do7cn from the step-ladder.) 

June {nnth a sigh). Sketching, of course. I 
haven't heard from home in a week. 

Mrs. Culpepper. And I haven't seen a newspaper 
since we came here. 

June. This is life in a wilderness. (Murray 
walks into the room, closing the door after him.) 

Philip. I hope you mended that leak, Murray. 
There's a big storm coming up. 

Murray. We should have brought a servant with 
us to do these things. (Murray goes into kitchen.) 

June. If Mr. Ware were here we wouldn't need to 
worry. 

Mrs. Culpepper. I am going to calm my mind by 
reading Hindu Philosophy. {She goes to shelf R. to 
take down book. June, greatly agitated, tries to stop 
her. ) 

June. Oh, Aunt Sophronia, you don't want Hindu 
Philosophy now. Read something else. (Mrs. Cul- 
pepper, not to be turned from her purpose, takes down 
two books in front of the biscuits.) 

Mrs. Culpepper. In the present crisis nothing but 
Hindu Philosophy will sustain me. (She goes into her 
room with the books.) 

(June stands in front of shelf. Philip watches her 
with a knowing smile. He goes towards the book- 
shelf. June backs up against shelf.) 

Philip {imitating Mrs. Culpepper's manner). I 



48 A CAB IX COURTSHIP 

lU'fd philosophy to sustain me in the present crisis. 

June. You know, Philip Russell, that jou don't 
want a book to read. 

Piiii.ir. I do — I can't live without books. 

Jl'ne. We can live without books, but not witliout 
cooks. (Philip pushes Jl'xe aside and discovers the 
pan of biscuits. He pulls it out and gives a surprised 
whistle. June watches hi7n in dismay.) 

Philip. What are these little flat things all in a 
row? 

June (with a forced laugh). Those — oh — yes. 
They're a new kind of cracker. I was just experiment- 
ing. 

Philip (holding up a hard, flat biscuit). They 
were not made to eat, were they.^ (He drops the bis- 
cuit on the floor and it falls like a stone.) 

June (almost in tears). If we hadn't come to tliis 
God-forsaken place, you wouldn't have had a chance 
to make fun of my cooking. 

Philip (laughing and taking a book from the shelf). 
Cheer up, June. Let's read " Soul Vibrations " to- 
gether. 

Carol and Murray come in from the kitchen. All 
are startled by a knock at the door. 

June. W^ho can that be.'' 

Carol. Some of our distance neighbors, perhaps. 

Carol opens the door up L. and Liz Jakin comes in. 
She is a tall, thin woman about thirty, but looks older. 
She wears a cheap, faded calico dress and a pink sun- 
bonnet and coarse shoes. She carries a large market 



A CABIN COURTSHIP 49 

basket. The poise of her head suggests native pride 
and dignity. 

Carol {pleasantly). Come in. 

Liz. Good-day. (Drawls.) Bein' you-uns wantin' 
some nice fraish vegetables? Bill — he's my man — 
'lowed as thar's some city folks in Mr. Ware's cabin 
and so I kcm a piece to fetch you-uns these vegetables. 

Carol. Yes, we will be glad to buy some. Are you 
Mrs. Jakin.? 

Liz. I be. My man's a-komin'. He stopped down 
yonder ter shoot him a squirrel. 

Carol (placing a chair for Liz). Won't you sit 
down? (Liz puts her basket on the floor and sits down.) 

Liz. You-uns air mighty pcrlite, but I cain't set 
fer a long spell kasc thar's a storm a-komin' up. I 
seen buzzards flyin' southward as I kem in. (Liz opens 
her basket and Carol and June inspect the vegetables, 
June sitting on the floor. Philip and Murray look 
on in amusement.) 

June (holding up some beets). Shall we have these 
things ? 

Philip. Do you know how to cook them? 

June (with a toss of her head). Carol and I have 
decided we need a man-cook — a chef — for this es- 
tablishment and you and Murray can draw lots to see 
who will have the honor. 

Murray (with disdain). A very foolish idea. 

Liz (looking at the city folks in amazement). 
Would you-uns like a nice briled chicken ter-morrow? 

June. Oh, that would be delicious. Does it come 
already dressed? 



50 A CABIN COURTSHIP 

Liz {puzzled). Dressed? No — mountin' chickens 
liain'I woarin' dresses. I'll fetch it alive. 

June {in dismal/). Oh, dear, no. Do you know 
what to do with a live chicken, Carol.'^ — Murray.'' — 
Phil.^ {They all shake their heads.) We can't have 
chickens, Mrs. Jakin, unless they come already pre- 
pared. 

Liz. Laws-amassy. I hev hearn tell that city folks 
air mighty helpless ! 

Carol. Since we came to the mountain we've 
learned that there are lots of things we can't do. 

(Phii. begins to sketch Liz.) 

liiz. I went down into the valley, wunst, and I 
declar' I nigh sultered. 'Pears like thar ain't breath 
enough to go round, with all them people. An' the 
water don't do a body no good ; an' you cain't eat 
hearty, nor sleep good o' nights. I didn't keer fer the 
town. I hankered fer the mounting. 

Murray {mth superior air). But don't you want 
some modern improvements.^ 

Liz {shaking her head). I don't keer fer them im- 
provements. Some calls them progress and sez they 
put money ter circulatin'. So they do, but who gits 
it? * 

Carol. Aren't you lonesome here so far away from 
people? 

Liz. Lonesome? Waal, in winter many-atime we- 
uns don't see no folks fer weeks tergether. Thar's 
only the dumb critters, the sky and the wind in the 
singin' pines. But lonesome? Naw, I hain't lone- 
some. I got Bill an' the children. {Proudly.) I 
reckon 'tain't every woman kin have the man she loves. 



A CABIN COURTSHIP 51 

Bill comes in from outdoors carrying George's 
rifle. 

Liz {to Bill). Did ye git ye a squirrel? 

Bill. La — no ! I war lying in the laurel a-waitin' 
fer Big Pete. 

Liz {greatly excited). Big Pete hyar? 

Bill. Waal, I heam that thar good-fer-nuthin' 
critter war sneakin' around hyar day afore yesterday. 

Liz. What brung Pete back from Kaintucky? 

Bill. Folks tole me he sez he kem back ter git 
even. 

Liz {getting up and speaking in imploring tones). 
Oh, Bill, be keerful. Pete air a tremenjous man an' 
mighty rough when he air drunk on moonshine. 

Bill {coolly). Don't ye fret. {Touching his 
rifle.) I lay out ter see him fust. I oughter hev kilt 
the cussed critter afore, but he won't git shet o' me 
nex' time. 

Murray {in a panic). I hope that there will not 
be any deeds of violence while our little party is on the 
mountain. 

Bill {looking at hiTn scornfully). Waal, ye 
needn't be skeered out o' yer boots. Ye kin stay in the 
cabin wi' the women, but I hev been a-tryin' ter make 
out ter shoot that thar Pete ever since he tried to steal 
my gal an' burned down my barn and pore live critters 
kase he didn't git her. Naw, he oughtn't ter be let 
live. 

Murray. This is very distressing. You ought to 
go to law and not try to settle differences in this bar- 
barous wav. . _ 



52 A CABIN COURTSHIP 

Bill. Law? We-uns hyar on the mounting hev 
ter take the law in our own liands. A pore man cain't 
fight money in the courts. As fer bush-whacking. 
Hit's as fa'r fer one as 'tis fer t'other. Ye cain't fight 
a man fa'r and squar who'll shoot ye in the back. 

(June gathers up the vegetables and Carol pays ) 
Liz.) ^ \ 

Liz {to Carol). Ain't Mr. Ware komin' down right 
soon.'' 

Carol. Today or tomorrow, I think. 

Liz. I'll be jiowerful glad ter see him. He air 
mighty good ter we-uns, ain't he. Bill? 

Bill. I reckon he air. We-uns think a heap o' 
George Ware. 

Liz {xvith a scornful look at Murray). He air 
plumb true-hearted an' he ain't one o' them helpless 
critters nuther. He war fotched up in the mounting. 
He air powerful sot, too. I reckon when he hev tuk 
a' holt, he'll nuver gin up. 

Carol (looking at Murray). Mr. Ware is very 
firm. 

Liz. He'll git whut he Avants ez sartain ez the sun. 

Bill (at the door). Come along, Liz, time's a-wast- 
ing. (Looking out.) I do dcclar' pears ter me we air 
goin' ter hev a mighty big storm. 

June. Does it rain here often? 

Liz (going toxvards the door). Toler'ble hard 
sometimes. Last ]May it rained and rained and 
Preacher Jim 'lowed ez it might rain forty days and 
forty nights. He tole we-uns that the Lord war goin' 
ter send a flood kase thar war such a powerful lot o' 
wickedness. But all ter wunst the rain stopped. 



A CABIN COURTSHIP 53 

'Pears like we might hev that flood now, kase Preaclier 
Jim 'lows ez the worP air gettin' wickeder. I dunno — 
mcbbe. Good-day, folks. 

June (to Liz). You had better wait until after the 
storm. You'll be wet through, if you go now. 

Liz (at the door). I ain't sugar, nor salt, nor no- 
body's honey. (She goes outdoors.) 

Bill. Ef you-uns see that dad-burned scoundrel 
Pete sneakin' round these pairts, Pll be obleeged ef ye 
tole me. I thought I seed him a piece back 3'ander jes 
a while ago. I wish ye well. (He goes outdoors.) 

(Consternation on all their faces.) 

June. Cheerful prospect ! Forty days of rain 
while we are caged in this mountain cabin — a leak in 
the roof and no fire. 

Carol (looking out of the window). See — the 
mists are like flocks of white sheep. The wind is blow- 
ing the leaves from the trees — the dark clouds are 
piling up. Oh — what a driving rain ! 

(Outside the wind howls and whizzes, the rain heats 
against the window and roof.) 

Philip (with a disconsolate air). Oh, for a walk up 
Michigan Boulevard ! 

June. And a look in the shop windows. 

Philip. And a good square meal at the club, 

June (indignantly). Do you mean, Philip Russell, 
that you don't have square meals here? 

Philip (holding up one of the biscuits). Far be it 
from me to slander a dear little cook like you. 

Mrs. Culpepper rushes in from her room up R. 
very much excited. 



54 A CABIN COURTSHIP 

Mrs. Culpepper. Murray Alden, you didn't fix 
that leak and the water is just pouring on my bed. 

Murray {hexvildered and annoyed). I'm sorry, 
Mrs. Culpepper. I worked over it a long time. 

Mrs, Culpepper. Oh, dear, what shall we do if 
this storm keeps up? 

Enter George Ware, from outdoors, wet hut cheer- 
ful. He wears a rain-coat and has his arms full of 
packages. From his entrance to the end of the act he 
dominates the scene. 

George. Hello. How are you all.'' D^idn't you 
expect me toda}'.'* 

Carol. Not in this storm. And from your letter 
I thought you might not be able to tear yourself away 
from the lumber 3'ards. 

George. I hustled things up at the office, because 
I thought I might make myself useful here. {He goes 
to the table R. and puts down his packages.) I 
brought down a few supplies. 

June. Goody ! Our pantry is almost as bare as 
Mother Hubbard's cupboard and the grocery is a long 
way off. 

George {takes off his wet coat and carries it to the 
fireplace). What! No fire this damp day? {Look- 
ing at Carol with solicitude.) Aren't you cold? 

Carol. We are a little chilly, but we couldn't make 
the fire burn. 

George {examining the wood). Wood — wet. I 
see. Well, I reckon we'll have to have a fire and be 
comfortable. {He raises the top of the fireplace seat 
and takes out some dry wood.) 



A CABIN COURTSHIP 55 

Carol. We never thought of looking there for 
wood. 

George. I always keep a supply of dry wood here. 
{He takes a match from his pocket.) When I was a 
boy sometimes we didn't have a match in the cabin. 
If the embers on the hearth went out, some one had to 
tramp to a neighbor's to " borry fire " and fetch it 
home on a torch. We had to be mighty careful about 
our fires. Here in the mountains, it's hard to get 
things and so we have to learn to do things. (George 
builds the fire while the others watch him. As the fire 
begins to burn.) It will soon warm up. 

Mrs. Culpepper. Thank goodness ! I was afraid 
I was going to have the rheumatism. 

George (looking at Carol and Murray who are 
standing at L.). Come up to the fire and get warm. 

]Mrs. Culpepper (throws off her shawl and goes to 
fireplace. Warming her hands). I am so glad you've 
come, Mr. Ware. 

George (still looking at Carol). A fire on the 
hearth does make a cabin cozy. Carol, won't you come 
over here? 

Carol (coldly). I like it where I am, thank you. 

(June a7id Philip go up to fire. The storm still 
rages outside.) 

June (seating herself on the fireplace seat). It's 
good to have it comfortable inside when there's such a 
storm outside. 

Philip. Ware — any danger of this roost being 
blown off the mountain? 

George. I've seen it blow, here on top of Pine 



56 A CABIN COURTSHIP 

Mountain, till a horse couldn't stand up against it. 
You'll spy, tomorrow, where those trees out there have 
been Avind-throwed and busted to kindling. 

June. Oh, dear — oh, dear. What will Me do? 

Philip (sitting down beside June). Die together. 

George (in reassuring tones). This cabin has 
stood through a heap of storms and I reckon it can 
stand one more. 

Mrs. Culpepper (walking towards her room). Oh, 
Mr. Ware, will you mend that leak in my room? The 
water is just pouring on my bed. 

George. Sure. (He pieks up his rain-coat.) I 
reckon I'll need this rain-coat for that job. 

(Sloxdy Carol comes to the pre while George 
xcatclics her with a smile. George pulls some letters 
and papers out of Jiis pockets.) 

George. By the \yi\\, anybody looking for mail? 
I went round to the post-office before I came out. 

June (jumping up). Oh, goody! I'm so hungry 
for a letter, I could eat one. 

George (handing the mail to June). JNIiss June, 
you pass the letters around, while I fix that leak. (He 
goes outside.) 

(Carol takes off her sweater coat. June hands a 
letter to Carol, several letters to Philip and then 
gives Mrs. Culpepper her mail.) 

June. Aunt Sophronia, perhaps you would like 
news of your clubs. 

Mrs. Culpepper (eagerly). Ah, yes. I have been 
out of the world so long. (Glancing at the contents 



A CABIX COURTSHIP 57 

of letters.) I have missed Prof. Williamson's lecture 
on the Symbolism of Color and Miss Doolittle's inter- 
pretation of Bergson. (Sighs.) I shall be sadly be- 
hind the times when I return to town. How fast the 
world moves in our day ! If we falter for a moment in 
the pursuit of culture we lose our stride in the marching 
hosts of light. {Sound of hammering.) Listen 1 
Mr. Ware is at work on the roof. He came just in 
time. {She goes into her room.) 

(JuNF. hands jMurkay a magazine and he walks over 
to the fireplace.) 

June {looking at Viui.iv xoho is tearing open en- 
velopes and throrcing dozen contents). Don't you like 
your letters, Phil.'' 

Phil. Bill — another bill — more bills. What 
luck ! They find me even here. What did you get, 
June? (Phii,!!' -walks over to L. where June is looking 
at her mail with a rueful smde.) 

June. Some circulars from the School of Domestic- 
Science.—" What to Eat and How to Cook It." 
"How to Cook a Husband." (Philip xchistles.) No 
— " How to Cook for a Husband." 

Philip. Xqvx useful information for a young lady. 

June. The girl ought to have the husband first. 

Phiiip. To tr3' new recipes on? 

June. Philip Russell, you're the worst tease — 

Philip {interrupting). In Tennessee. 

June. In the whole world. 

George comes in from outdoors rcifh a hammer in 
his hand. 



58 A CABIN COURTSHIP 

George {coming dozen to C). That job's done. 
No more rain on Mrs. Culpepper's bed. Have you 
seen Bill Jakin lately.'' 

Carol. He and Mrs. Jakin were here this after- 
noon. They left just before the storm broke. 

June {shows Phil's sketch of Liz to George). 
Phil made this sketch of Mrs. Jakin. Isn't it good? 

George {smiling as he looks at it). Yes — that's 
Liz all right. At fifteen she was the Be'lle of the 
iVIountain. That was quite a spell ago. 

Murray. Crude people — these backwoodsmen. 

George. In the mountains we don't judge a man 
by the clothes he wears or the way he talks. Bill's 
})oor, but a mon's a mon for a' that. 

Murray. The mountaineers seem very ignorant to 
me. 

George {with proud independence). They haven't 
any book learning, but the men and women of these 
mountains are pure-blooded Americans. They^re 
ragged, but they're not beholden to any one. They 
ask no favors and they never take orders from any 
man, save as patriots in time of war. They always 
answer their country's call. They fought in the civil 
war and they were heroes in the world war. 

Carol {shuddering). But don't 3'ou think these 
mountain feuds are terrible.? 

George. It's as hard to stop them as it is a moun- 
tain torrent rushing down to the rocks below. 

Murray {with signipcant emphasis). Bill Jakin has 
ifour rifle and he is after Big Pete. 

George {startled out of his calmness). Big Pete.'' 
What is he doing around here.'' 



A CABIN COURTSHIP 59 



June. Bill says he's come back to get even. 

George. It was the year I left the mountain that 
Bill and Pete had their big fight for Liz. I thought 
that trouble was ended when Big Pete went to Ken- 
tucky, but we mountain folks always come back. 

June. Oh, dear. This is such a dangerous place. 
Come, Phil, let's get some supper. 

Philip. Yes, I'm hungry enough to eat — biscuits. 
(June and Philip go into the kitchen.) 

George (goes to outside door, opens it and looks 
out). The rain's over. Our mountain storms are 
fierce while they last, but sometimes they stop as sud- 
denly as they break. {He looks at Carol and Mur- 
ray bi/ the fireplace.) Alden, I reckon you would find 
inspiration for your poetry in the woods just now. 

Murray (going toxvards the door). I'll go for a 
walk. (With a significant glance at Carol.) I have 
some arrangements to make with one of the neighbors. 
The woods will be beautiful after the rain. I'll look 
for laurel. (Murray with the magazine in his hand, 
goes outside, leaving George and Carol alone. 
Carol stands, pensive, hy the fireplace. George 
comes down to C. and looks at her with tenderness.) 

George. I'm afraid that you have had an uncom- 
fortable time here, but it's all right now, isn't it, little 
girl.'* (He holds out his arms for her to come to him. 
She looks up at him and then turns away. He drops 
his arms in disappointment.) 

Carol. Of course, there have been some inconven- 
iences, but we have tried to rise above them and keep 
our minds on higher things. Living with nature is 
different from what we had imagined. 



60 A CAIUX COURTSHIP 



George. I know it's been a rough life for a dainty 
little woman like you, and all through these two weeks 
I have been thinking of you, thinking of you, and 
wishing I could be heie to make things more comfortable 
for you. 

C'auoi. (with reproach). And yet you stayed away. 

George, So that you could have your fill of poetry 
and romance. (Loohhig at her with a tender smile.) 
But it's good to see you' again, little girl. (C'aiiot. 
looks into the Hreplare leitliout speaking. SJotcJy the 
smile fades from. George's face at her unresponsive- 
ness.) You have had a good time, haven't you? 

Carol. Yes, while you have been wrapped uj) in 
your business affairs, I have found the romance I've 
longed for. 

George (giving her a penetrating look). Is it that 
poet chap.'' 

Carol. He says I'm his inspiration — that he could 
write poetry all day with me near him. 

George (drily). No doubt. I'm not worrying 
about him. But where do you come in.'' 

Carol (rapturously clasping her hands). It will be 
a wonderful thing to be the inspiration of a poet — to 
know that my love feeds the sacred fire of his genius. 

George. Will that keep you warm and comforta- 
ble .!- 

Carol (impatiently). You are so matter-of-fact. 

George (looking at the fireplace). I was just 
a-thinking that there are times when a real fire on the 
hearth is mighty cozy. 

Carol. You flon't understand me. 



A CABIN COURTSHIP 61 

George. Mebbe not. I'm a plain man, but I've 
loved you a long time. 

Carol (wistfully). I want poetry — romance. 

George. I can't talk poetry, but I want to take 
care of you, little girl, and I want to make you happy. 
You see, Carol, I've had a hard fight and I've had to 
make my way alone — and so, to keep up my pluck and 
cheer me on, I've held before me a picture of a home — 
a real home — with a little woman to smile when I came 
back from work. And always the woman in that pic- 
ture was — you. {With passionate feeling.) Ever 
since I've known you, I've wanted you and for years 
I've worked to make a home for you. (Carol is 
touched hy George's speech, hut resists his appeal.) 

Carol {with reproach). You say you love me and 
yet 3'ou brought me to this wilderness and left me. 

George. Yes — because — because — I thought that 
here in my mountain home, face to face with the ele- 
mental necessities of life, you might see what things arc 
of real worth. 

Carol (throwing up her head). I can rise above 
material things and live in the ideal. 

George. You think you can,, Carol, but in the 
struggle for food, — warmth — love — we are just 
plain men and women — just male and female. My 
dad married my mammy when she was sixteen. They 
were mighty poor and they didn't talk much about lov- 
ing, but he was her man to the end and there never 
was any other woman in the world for him. (With a 
masterful air.) Carol, I won't give you up. You're 
mine — mine. (He grasps Carol in his arms. She 
breaks axvay from him.) 



62 A CABIN COURTSHIP 

Carol. No — no — I'm not a Liz Jakin to be won 
by force. You're rough and crude — you're a cave- 
man. 

George. Mebbe I am, but I'm a man — man enough 
to fight when fighting's needed. 

Carol. Yes, you encourage the mountaineers in 
their fighting. I saw you give Bill Jakin your rifle 
to carry on his feud with Big Pete. 

George (aroused to anger). So that's what you 
think of me, is it.? 

June and Philip burst in from the kitchen. June 
carries a table cloth and a large piece of card boarS, 
and Philip has a tray of dishes. They begin to set 
the table. 

June. Supper will be ready in ten minutes. 

Philip. If the cooks don't burn it up. 

June. The head cook is very efficient, but her 
assistant is — irresponsible. {Looking around.) 
Where's Murray.? 

Carol. He went for a walk in the woods. 

June. He'll be back soon. Even Murray Alden 
always remembers meal time. (Takiiig up the card 
board.) I'm going to tack up this sign. Where shall 
we put it.? 

Philip. This is a good place — near the supper 
table. 

June. Where's a hammer.? 

George {handing a hammer to Phil). Here's the 
hammer that mended the leak. (June and Philip 
tack up the sign.) 

June. Now we'll watch Murray's expression when 



A CABIN COURTSHIP 63 

he reads it. But — to work — to work. Men must 
be fed no matter what the state of their affections. 
( With a glance at George. Carol, pensive, remains 
by the ^replace. George places chairs at the table 
and lights the candles.) 

George {as he lights the candles). I reckon that 
over at Bill's little log cabin they're having supper, too 
— cornbread and hog meat. I wonder where Big Pete 
is. Bill has a heavy score against him. It well nigh 
ruined Bill and Liz when Pete burned their barn and 
live stock — and a mountaineer never forgets a wrong. 

Carol looks troubled. Murray strolls in from out- 
doors. He is reading his magazine. 

June. Murrav, I knew 3^ou would come back when 
supper was readi/. 

iMuRRAY {starting as from a reverie). Where am 
I.'' Oh, yes, I was just reading a beautiful article. 
Such felicity of phrase — such vividness of impression ! 
That man is an artist in words. 

June. Murray Alden, will you please put down 
that magazine and get us some water. 

Murray {pained). Presently— presently. First 
let me read you a few paragraphs from this remark- 
able article on the " Joy of Work." (George loo^s 
at Murray zmth disdain and then goes and throws a 
log of wood on the fire.) 

June. Never mind reading about work. It's time 
for supper and we have a new rule in this dining-room. 
{Pointing to the sign.) Read the sign over there. 
{They watch Murray as he goes over and reads the 
sign. ) 



64 A CABIN COURTSHIP 

Murray {reading the sign in a bewildered wajj). 
" He who will not work .shall not eat." 

Carol (at table H. in pained surprise). June, how 
could you? 

June. I thought that an old-fashioned motto was 
needed in this boarding-house. 

Murray. Very commonplace and crude. 

(Philip goes to door up H. and calls.) Supper, 
Mrs. Culpepper — first call to supper. 

Mrs. Culpepper comes in. 

Mrs. Culpepper. My poor mortal body is in need 
of refreshment. (She seats herself at the table and 
June and Philip also take their places at the table. 
Murray hands Carol a spray of mountain laurel.) 

Murray. Carol, I brought you this mountain 
laurel, — symbol of springtime and love. (George 
watches Murray and Carol with keen eyes.) 

Carol {taking the laurel). How beautiful! Tlie 
woods must be lovely after the storm. 

Murray. They are an inspiration. (Carol toi/s 
with the laurel. George goes to the window and looks 
out.) 

George. The clouds have cleared. There will be 
a bright moon to-night. I reckon Bill Jakin will go 
squirrel-hunting. Mebbe he'll come round this way. 

(Carol, after a moment's hesitation, puts the laurel 
in her hair. Murray and George are both watching 
her. Murray smiles. George's face saddens and he 
clinches his hands.) 

Positions. 

Carol. Murray. George. ^Irs. C. June. Philip. 
Curtain. 



A CABIN COURTSHIP. 

The Third Act. 

Scene: The same as Act I. Eight o'clock in the 
evening. 

One old-fashioned lamp and several candles light the 
room. The window looking on to the porch is open 
and the moonlight streams in. The supper dishes have 
been cleared away and a large jar of mountain laurel 
stands on the table. 

A man and a girl are sitting on the porch with their 
backs to the window. The girl wears a pretty, fluffy 
dress and has a scarf of tulle over her head and shoul- 
ders. The man is playing the guitar and the girl is 
singing a love song. She sings txco or three verses. 

The door up R. is opened and Carol comes in 
stealthily. She wears a hat and a travelling coat and 
carries a suit-case. She looks around, sees the man 
and girl on the porch, goes to the kitchen door and 
opens it. There is the sound of some one chopping 
wood. She starts back and then quietly closes the 
door. She looks at the couple on the porch and then 
at the outside door. She stands thinking for a min- 
ute. Then she hides her suit-case and takes off her 
hat and long coat, revealing a becoming summer dress. 

The singing and playing stop, the man puts his arm 
around the girl and slowly her head sinks on his shoul- 
der. Carol rvatches them. She coughs to attract their 
attention. They are too absorbed to notice. She 



66 A CABIN COURTSHIP 

drops a book on the floor. They start and jump up. 

Carol. June, aren't you afraid you will take cold 
in the night air? 

June. Oh, no. I have this scarf. 

Carol. That flimsy bit of tulle won't keep you 
warm. You had better come in and get a wrap. 

June {dreamily). The moonlight is so beautiful. 

Carol. Come in. I want to show you something. 

Carol nervously moves around, while Philip and 
June enter from outdoors. 

Philip. What luck ! It was too good to last. 

June {impatiently). What did you want to show 
us, Carol.'' 

Carol {in confusion). Oh — yes — show you? 
{Going to the table witli the laurel.) I wanted you 
to see how beautiful this mountain laurel looks. 

Philip {in disgust). Is that what you called us in 
for? 

Carol. I thought 3'ou would like to paint it. 

Philip. No ; there was a prettier scene out there — 
the soft outlines of the distant mountains — the fire- 
flies flitting by — the trees swaying in the wind — 
moonlight over all — 

Carol. And June. 

Philip. Yes, the time, the place and the girl. 

June {looking at Carol teith questioning eyes). 
Carol, you seem very fond of laurel. I saw you put 
some in your hair at supper. 

Carol. I love it. It means so much to me. It's a 
symbol of springtime and — love. 

June. That's just what Murray said. 



A CABIN COURTSHIP 67 

Philip. Conic, June, let's go back to the porch and 
finish our song. (June leads the way to the door.) 

Carol. Oh, no, Philip. Mr. Ware is chopping 
wood in the kitchen and I think you ought to help 
him. 

Philip. Hang it all! What's your game, Carol.'* 
Do 3"ou want to sit on the porch yourself.^ 

Carol. Oh, no. 

June. A girl wouldn't w-ant to sit there alone. 

Philip. No, she needs protection against the mos- 
quitoes. 

Carol (with a significant smile). And the night 
air. 

Philip. Then why are you sending me into the 
kitchen? 

Carol. To help George. He's been busy doing 
things to make us comfortable ever since he came. 

June. I didn't think you had noticed what he was 
doing. You seemed too much absorbed in some one 
else. 

Carol. I have never failed to see that Mr. Ware is 
very — practical. 

June. But not poetical. 

Philip (as he strums his guitar). Oh, girls. When 
I was sketching near one of the cabins yesterday I 
heard a young mountaineer singing a funny song. 

June (enthusiastically). Sing it for us. (Carol 
impatiently walks to the window and looks out.) 

Philip (playing guitar). It went something like 
this: 

Music. (See pages 87-88.) 

Call up 3^our dog, oh, call up your dog! 



68 A CABIX COURTSHIP 

Call up your dog! 

Call up your dog! 
Let's a-go huntin', to ketch a ground hog. 
Rang tang a-whaddle linky day," 

(June beats time with her foot and claps her hands.) 

June. That's a real mountain song. 

(Philip cuts a pigeon-wing, txvirls around with his 
guitar and sings in a quaint minor. Then he suddenly 
changes his key to this:) 

Did you ever see the devil, 
With his pitchfork and ladle, 
And his old iron shovel, 
And his old gourd head.'' 
O ! I will go to meetin' 
And I will go to meetin', 
Yes, I zvill go to meetin' 
In an old tin pan. 

(June laughs and claps her hands.) 

June. Aren't the mountaineers funny.'' I've never 
seen anybody like Liz and Bill Jakin. 

Phiuip. I hope Bill doesn't come around here with 
that rifle. He might shoot me for a squirrel. 

Carol {impatiently). Can't you hear Mr. Ware 
chopping wood in the kitchen while you are singing 
nonsensical songs here? 

Phiijp {putting down his guitar). What a pity my 
art is not appreciated. {Going towards the door L.) 
I don't want to be a shirker. I'll go and help Ware 
keep the home fires burning. {He goes into the 
kitchen.) 



A CABIN COURTSHIP 69 

JiixK {looVmg at Carol reproachfully). Now, 
Carol, do you tliink it was fair to interrupt an — 
episode like that? I ask you as one ^irl to another. 

Caroi.. I was afraid that you would take cold in 
that thin dress. 

June. You know from experience, Carol Pratt, 
that there are times when a girl is willing to take the 
risk. Why do you think I was wearing this dress in 
the moonlight.'' (Sigh.s.) Now it may be a long time 
before Phil's in that mood again. He even forgot that 
I'm not a good cook. 

Carol {wistfuUy). Oh, June, did you ever wish that 
you could look into the future.'* 

June, Indeed, I have. I've tried card reading, 
])almistry, crystal gazing, clairvoyance and the ouija 
board to find out when I was going to be married and 
not once have I been told that I was" going to be an old 
maid. That's very encouraging. 

Carol. From what I have seen since we came to 
the cabin, I think there's no danger of you being an 
old maid. 

Ji'NE. But you know, Carol, a man can come very 
near to the point of proposing and then shy off. He'll 
come right up to the edge without taking the leap. 

Carol. That's the time he needs — encourage- 
ment. Let me see your hands. {She takes June's 
hands and looks at the palms.) You have a good 
heart line. You arc going to be married when you are 
about twenty. 

June. I'll have to hurry. I'm twenty now. 

Carol. You'll be very happy. 

June. Will I learn to cook.^* 



70 A CABIN COURTSHIP 

Carol (laughing). A certain young man will think 
you are the best little cook in the world. 

June. I've heard that love is blind, but I didn't 
know that love made men lose their sense of taste. 
This house party has been a great experience, hasn't 
it.? 

Carol (with a far-away expression) . I never shall 
forget these weeks we have spent in the mountain cabin. 

June. We've come to know each other so well. 

Carol. And yet I don't know my own self. 

June. Life isn't simple when a girl has two men 
on the string. I know which one / would take, and it 
isn't the one I was betting on when we came to this 
wilderness. 

Carol. I know what you mean, June, but I want a 
man who is something more than practical. 

June. And more than unselfish.'' 

Carol. Ye — es. 

June. Do you want the moon.-^ 

Carol. No, but I want a man I can look up to. 

June. Then perhaps, you'll find him in the moon. 

(The clock strikes eight. Carol starts.) 

Carol. One — two — three — four — five — six 
— seven — eight o'clock. 

June. How time flies ! 

Carol (greatly disturbed). June, won't you go 
into the kitchen and see if the men need anything.'^ 

June (looking at Carol with suspicion). Why 
should they need anything just at eight o'clock? 
What is the matter with you to-night? 

Carol (assuming indifference). Nothing. 

June. You're acting very quecrly. 



I 



A CABIN COURTSHIP 71 

Carol. I'm a little nervous. That's all. I think 
it's something about this place. 

JuxE (sitting down). Then I ought not to leave 
you alone. 

Carol. Oh, please do. That's just what I want. 

June. Indeed.'^ You're a sociable soul, Carol 
Pratt. 

Carol. I mean — I mean — Don't you see, June.'* 

June (jumping up with a laugh). I think I do. 
Good luck, Carol. (June goes into the kitchen.) 

Carol closes the door. She hastily puts on her hat 
and travelling coat, picks up her suit-case and goes to 
the outside door. Just as she is going out, Liz Jakin, 
greatly troubled, comes in, carrying a pail of milk. 

Liz. I fotched you-uns some fraish milk. 

Carol. Thank you, Mrs. Jakin. Please take it 
out to the kitchen. 

Liz. Whar be Mr. Ware.'* I want ter see 'im. 
(With agitation.) Thar's trouble a-komin' and he air 
a powerful holp in trouble. 

Carol (pointing to the kitchen door). You'll find 
him right out there. (Liz starts towards the kitchen 
and stops.) 

Liz. Thar's a bright moon ter-night. When I 
kem by that thar big sycamore, I seed a team and that 
brigarty 3'oung man a-standin' by. 

Carol. What do you mean by " brigart}- "? 

Liz. Good la ! Whar was you fotched up ? That's 
common. When I say that young furriner is brigarty 
among women-folks, hit means that he's stuck on his- 
solf and wants to show off. I 'low that 3'oung feller 



72 A CABIN COURTSHIP 

war a-waitin' fer somebody. I don't confidence 'im 
much. (Carol is restless and (lisiiirhed during Liz's 
speech. ) 

Carol. You'll find Mr. Ware in the kitchen. 

Liz. I want ter tell 'im something. (Liz goes to- 
ward the kitchen.) 

Carol picks up her suit-case. George, ivho has 
heard voices, comes quickly from the kitchen. 

George {cordially). Howdy, Liz. Tm glad to see 
you. {He shakes hands with her.) 

Liz. Hit's might}- good ter hev ye back. I fotclied 
you-uns some fraish milk. 

George. Thank you, good neiglibor. {He sees 
Carol trying to slip out unobserved.) Carol, you are 
not going out to-night, are you.^ 

Carol. Yes, I'm going out. 

George {turning to Liz). Liz, if you will take the 
milk right out into tlic kitchen I'll talk with you later. 

Liz. I reckon I will. {She goes into the kitchen.) 

George {turns to Carol and speaks in qtiiet, firm 
tones). It's not safe for 3'ou to go out alone. 

Carol. I have an appointment and I'm going to 
keep it. 

George {quietly). You are not going away with 
Murray Alden to-night. (Carol is surprised by 
George's knowledge of her plans and looks at him with 
a startled air and drops her suit-case.) 

Carol. I didn't say I was going with Murray. 

George. I'm not blind. I knew at supper time 
that you had some plan on foot. 

Carol {defiantly). Yes, I am going away with 
IMurrav Alden. 



A CABIN COURTSHIP 72» 

George. You don't realize what you are doing. 
You are hypnotized by liis romantic talk. 

Carol. I know what I am doing and I'm going of 
my own free will. 

George {with great earnestness). How much do 
you know of the world and what lies before you? All 
your life you have been sheltered — all your life you 
have been surrounded witii comfort and ease and now 
you are trusting your future to this man who has never 
done a stroke of real work and who can't take care of 
you. 

Cx^ROL. He's a poet — a gifted man and I am going 
to help him. 

George. Yes — wait on him — slave for him, 

Carol {indignantly). You have no right to talk 
to me that way. 

George. I'd rather fight Murray Alden face to 
face, but this thing can't be settled that way — by the 
code of the mountain. 

Carol {shudders). The code of the mountain — no 
-— no. 

George. But I care too much for 3'our happiness 
to let you go into this blindly. I can see 3'ou with him, 
when your beautiful romance has flown out of the win- 
dow and you are worn out with work and care, trying 
to carry the burden for two. Carol, stop and th.ink. 

Carol. Love is the great thing. 

George. Yes, love is the great thing, but not in- 
fatuation. How are you going to meet the problems 
of every day life.^ Hasn't your experience here taught 
3'ou that he can't even keep you comfortable? 

Carol. A man like Murray Alden shouldn't be ex- 



74 A CABIN COURTSHIP 

pected to build fires and chop wood and mend leaks, 

George. Mebbe not. But somebody has to do it. 
Carol, I'm not pleading for myself. That is all over. 
(Proudly.) I don't want a woman without her love. 
I will never trouble you again. But I can't see you 
walking blindfolded towards a precipice and not put 
out my hand to stop you. 

Cauol. I have promised to go with him. 

George. You can wait until morning. 

Carol (picks up her suit-case and starts towards the 
door.) No, I must go now. 

George ( takes the suit-case from her with a master- 
fid air.) You will stay here tonight and tomorrow you 
can decide. 

Carol (indignanthj). What right have you to dic- 
tate to me? 

George (quietly). Only the right of a man who 
wishes to protect and shield you. (Carol comes 
slowly hack to center of the room. She turns and 
goes towards door up R. She droops like a delicate 
fower. She is xcorn out with the struggle. At the 
door she tzirns and looks at George who stands in the 
center of the room, absorbed in thought and still hold- 
ing the suit-case. The mountain laurel that she was 
wearing over her heart falls to the floor, but she does 
not notice if. She goes into her room; George stands 
perfectly still.) 

'Liz Jakin comes in from the kitchen. 

Liz. Mr. Ware, I want ter tell 3'e something. 
George (drops the sidt-case with a bang and sud- 
denly comes to himself). Yes, Liz, what is it.'' 



A CABIN COURTSHIP 75 

Liz. I'm af eared we-uns air £foin' ter hev a heap o' 
trouble. Big Pete's kom back from Kaintucky and 
Bill's arter him wi' a gun. 

George. We must stop this fighting. 

Liz. Nuthin' kin stop Bill. 

George. Are you sure Pete's in the mountain.-^ 

Liz. I knows it fer true, Mr. Ware. We-uns war 
in the cabin. I giv the children their hog-meat and 
co'n bread fer supper. Bill war a-smokin' his pipe an' 
a-cleanin' his gun an' I war a-totin' in the milk. All 
of a suddenty I heerd a noise in the bresh. Then I 
seed a man sneakin' up ter the cabin. Bill seed him 
from tlie door. " Hit's Pete," he sez, an' goes arter 'im 
with his gun. 

George. Which way did they go.'^ 

Liz (greatly excited). This a-way. Oh, Mr. 
Ware, this shootin's a sin an' a shame — a burnin' 
shame. Bill's my man an' I h.ev laid off ter stand by 
'im through thick an' thin, but hit's wuss'n stealin' 
money ter take a feller-critter's life. 

George. I thought this shooting had been stopped 
in the mountain. 

Liz. Mounting folks air mounting folks an' we-uns 
air powerful sot in our ways. But cf Bill kills Pete 
I'm afeared they'll hev the law on 'im an' take 'im ter 
the pen'tiary an' ef Pete shoots fust — (With despair.) 
Whut'll I do without Bill.? 

George {with grim determination). We must stop 
them. 

Liz. Bill sets a great store by ye, Mr. Ware, an' 
ye kin stop 'im ef anybody kin. Bill air ])caceabk' 
nough ef he ain't jawed at, an' air lef be, but he air 



76 A CABIX CUURTSHIl' 

mighty rough when he air riled. {Wildly point Irig at 
open door up L.) Look thar ! 

Bill peers into the door. He is carrying George's 
ri^e and looking intently for some one. 

Bill. Hev you-uns seed that cussed critter.'' 

George {in a commanding tone). No. Come in 
and put up that gun. 

Bill {coming in). That dad-burned^ scoundi-el 
Pete's kom a-sneakin' over hyar ; waiting in the lorrel 
arter dark fer me, but I'll git 'ini. 

Liz {going up to Bill and speaking in imploring 
tones). Bill, don't kill Big Pete or tiiar'll be a heap o' 
trouble. 

Bill {fiercely). Didn't he burn down mv barn an' 
pore live critters? 

Liz. Yes, Bill, but that war quite a spell ago, afore 
he war druv out o' the mounting. 

Bill. Whut brung him back ter these hyar mount- 
ings.'* 

Liz. He orter stayed in Kaintucky. 

Bill. He won't get shet o' me this time. 

George {putting his hand on Bill's shoulder). 
Come, Bill, don't shoot a man down in cold blood. 

Bill {fiercely shaking off George's hand). He 
ortern't ter be let live. 

George {qtiietly but prmly). And you oughtn't to 
commit murder. 

Bill {angrily). What do ye saft-hearted city folks 
know a' mounting ways.'' We-uns git jestice. 

Carol comes in from up R. xcithout her coat and 
hat. She listens, awestruck, in the background. 



A CABIN COURTSHIP 71 

George (dropping into the vernacular of his boy- 
hood). I reckon I do know mounting ways. Warn't 
I born hyar? Air ye forgittin' how I holped ye with 
the log-raising and the corn-cutting in the autumn? 
Air ye forgittin' that we-uns went coon-hunting ter- 
gether on moonlight nights like this? (Bill is soft- 
ened a little, but resists George's appeal.) 

Bill (sullenly). Ye lef the mounting when ye war 
a boy an' ye air differ from we-uns — ye air like the 
furriners. 

George. No, I belongs hyar. When I lef the 
mounting, I did hone fer my dog Fiddler, an' the times 
we'd had a-hunting, an' the trout-fishin' an' the smell 
of the woods an' nobody bossin' at all. I'm a hill- 
billy, all right. 

Liz. Yes. Bill, he air mounting folks. 

George. You-uns air my folks — the only folks I 
hev. The saft-handed city folks with their fine ways 
and prutty words don't understand me. I'm like ye 
an' Liz. 

(Carol starts forward, but restrains herself.^ 

\a7.. Bill, listen ter him. 

George. I reckon I know how ye feel, Bill. When 
I see things a-goin' wrong, I kin see blood. Then I 
cud take a gun and shoot the man that's a-doin' wrong. 

(Carol shudders.) 

Bill. That's a man's way. 

George. No, that air a fool's way. Ef ye kill Big 
Pete, ye'll bring a heap o'trouble on yerself an' Liz an' 
the cliildren. 

Bill. I hev sed I war a-goin' ter wipe 'im out, ef 
lie com sneakin' back hvar, an' I ain't a-goin' ter fail o' 



78 A CABIN COURTSHIP 

my word. Things air a-goin' ter be settled one way or 
t'other ternight. 

Liz. He air got a pistol, Bill, an' he'll kill ye. 

Bill. I 'low as how I ain't afeared o' him, not ef 
he air Satan hisself. {He starts at a sound olitside.) 
I heerd something. Hyar I stand a-j awing wi' j^e an' 
time's a-wasting. {He goes out into the night.) 

Liz. I hev done seed a powerful lot o' trouble, fust 
one way an' another. 

George. But it hasn't broken your spirit. 

Liz. Nuthin' kin, but I don' know whut things air 
komin' ter. I wisht I'd nuver set eyes on Pete. He 
alius war a no-count critter an' when he tuk ter a-fol- 
lerin' me round afore I war married, I tole him ter 
quit. Now, he's a-laying off ter git Bill jcs ter spite 
me. 

George. Men fight for land and fight for gold, but 
their fiercest fights are for women. 

Suddenly Murray, looking bewildered, appears at 
the windoxc. 

Carol {starting hack). Murray! 

George {calmly). Come in, Alden. We've missed 
you this evening. 

Murray {as he comes in). I just walked down to 
the bend in the road. 

Liz. Hev ye seed Big Pete.'' 

Murray {startled). Big Pete? 

Liz. Yes. Big Pete's n-hidin' in the bresh, a-wait- 
ing ter kill Bill. 

Murray. How distressing! I hope there won't be 
any shooting around here. 



A CABIN COURTSHIP 79 

Liz. Thar's trouble a-komin'. 

George (looking, at Murray reith keen eyes). Yes, 
there's trouble ahead. 

A huge skulking figure appears at the outside door. 
Big Pete wears a slouched hat and a coarse suit with 
the trousers tucked into cow-hide boots. He has a 
dark, crafty face and shifting eyes. His pistol is 
cocked. He rushes into the room, followed by Bill. 
They face each other. 

Positions. 
Carol. Murray. 

George. 
Pete. Bill Liz. 

Bill. I tole ye that ye warn't ter kom hyar. 
Ye're got ter go back ter Kaintucky or ye'll nuver git 
thar no more. 

Pete. I hev been a-waitin' fer ye an' I hev kom 
hyar ter git ye. 

Bill. Foolin' with me air like makin' faces at a 
rattlesnake ; hit may be satisfyin' ter the feelin's but 
'tain't safe. 

Carol shrinks back and Murray disappears. June 
and Philip rush in from the kitchen and Mrs. Cul- 
pepper comes in from her room up R. June covers 
her eyes with her hands. Mrs. Culpepper gives a cry 
of dismay. 

Pete. I hev kom hyar ter tell ye a word — a word 
cz I hev been a-aimin' an' a-contrivin' ter tell ye ever 
sence ye war married ter Liz over yander. 



80 A CABIN COURTSHIP 

Liz. I hed a right ter make a ch'ice. I tuk the 
man I wanted. 

Pete. Jes' so. Ye tuk Bill an' ye treated me 
scandalous an' now I kom back ter git even. I hev 
been a-layin' off ter git Bill fer a long time — ter .spite 

.ye. 

Bill. An' ye burned my barn an' pore live critters 
fer spite. Now, cl'ar out, ye cussed scoundrel. 
Pete. Naw. 

Positions. 
Mrs. C. June 

Cakol. Liz. George. Philip. 

Pete. Bill. 

(Bill raises his gun to his shoulder, as Pete, with 
his pistol cocked, advances a step nearer. Instantly 
George steps between the angry men. He strikes 
Pete's pistol downward with a qiiick strong hand. 
There is a fash, a report and the pistol falls from 
Pete's hand. Pete turns, terrified, and catches the 
hand that struck his pistol to the floor. As Pete 
turns upon George he sees that George's other hand is 
over the muzzle of Bill's gun.) 

Bill. Tuk yer hand off, or by the Lord Almighty, 
I'll shoot it ofF. 

George. Let go that gun or I'll break your head. 

George holds Pete's powerful right arm in a vice- 
like grip and keeps his other hand over the muzzle of 
Bill's gun. Carol starts to go towards George and 
holds her hand over her heart.) 

Carol. George — George. 



A CABIN COURTSHIP 81 

George (in anxiety for her). Get out of the way, 
Carol. 

{Finally Bill lets go his gun and stands empty 
handed beside George, k'/io holds the rifle.) 

George {to Pete). Now you go. 



Big Pete. See hyar, whut business ye got meddl 



in 



George (in his calm, deliberate way). I hev 
a-plenty. Now ye cPar out. 

Pete (dcpant). I 'low I ain't goin'. 

George (looking Pete in the eyes). Waal, ye 'lowed 
wrong. Ye go. 

Pete (coxced by George's firmness). Waal, jes ter 
pleasure ye, I'll go. (At the door he turns and says to 
George.) Ye ought ter be in my gang, that's whar ye 
ought ter be. Ye've got a damned deal too much ^rit 
fer city-folks. (Pete goes outdoors and they all give 
a sigh of relief.) 

Liz (with deep emotion). Oh, Mr. Ware, ye saved 
we-uns a heap o' trouble. 

Bill. Ef ye hedn't hung on ter my gun like ye done, 
Pete would hev been dead. 

George. And you would have been hunted down for 
a murderer. 

Bill. I'm glad ye done hit, George. Hit ain't sech 
a killin' matter nohow. Come along, Liz. Time's 
a-wasting. 

George (handing his rifle to Bill). You can have 
the rifle, Bill, if you promise not to shoot Big Pete. 

Bill. I promise fer gospel. (Looking at the gun 
with affection.) Hit's a mighty good rifle-gun. 

George. For squirrel-hunting. Remember that, 
Bill. 



82 A CABIN COURTSHIP 

Bill. I 'low' I'll nuver forgit whut ye done ter- 
night. 

George. There must be peace in the mountains. 
(Holding out his hand to Liz.) Good-bye, Liz. We 
are going back to the city tomorrow. 

Liz. I wisht ye war a-goin' to sta}'^ hyar. 

George. I love the mountains, but my work is in 
the city. Perhaps the others would like to stay here 
longer. (Looking around until his eye lights on Mrs. 
Culpepper with a smile.) ^Irs. Culpepper, would you 
like to spend another week in the cabin? 

Mrs. Culpepper (greatly disturbed). This simple 
life may be elevating ; but it has its drawbacks and in- 
conveniences and I feel that it is my duty to go back to 
my theosophy lectures, my travel club and my drama 
class. 

Liz (shaking her head). I cud nuver git tuk up with 
them town ways. (With dignify.) We-uns ain't got 
no book-larnin' but we kin see the sun riz up out o' the 
cove and see him go down red over yander behind t'other 
mounting. We kin walk on the sod and earn our 
livin' out o' the soil. Pore 'nough livin'. (Proudly.) 
But we ain't beholden to no man. 

Murray strolls in from outdoors. 

June. Murray, we've had the biggest excitement of 
our lives and you missed it. 

Murray. I couldn't be present at one of these shoot- 
ing frays. 

Carol (with deep feeling). It was terrible. My 
heart stood still when George stepped between the men. 



A CABIN COURTSHIP 83 

Philip. If Bill's gun had gone off, George would 
have gone to the Happy Hunting Ground. 

George. Oh, it was nothing. I wanted to keep 
Bill and Liz out of trouble. 

Liz. An' ye done hit, Mr. Ware. I'll nuver forgit 
ye ter the day I die. 

Mrs. Culpepper (idth a sigh). I thought we would 
find rest and quiet here near to nature's heart, but the 
most unexpected, startling things have happened all the 
time. 

June. Yes, it's been thrilling. 

INIrs. Culpepper. I do hope that there is an early 
train for the city tomorrow. I'm going to pack my 
suit-case. (She goes into her room.) 

June. This has been a great lark, but I'm off for 
town to take a course in cooking. 

Philip. I think I had better go too, to see that she 
doesn't waste her skill on some other man. 

Bill. I'll holp you-uns wi' yer things in the mornin' 
so ye kin git a soon start. 

June. Thank you, I guess you think " we-uns air 
mighty helpless." 

Bill. Waal, I reckon ye furriners air right smart 
in some ways, but — (Looking at Murray.) I 'low 
thar's otie o' ye ain't got niuch grit. 

June (laughing). Poor Murray! This is a dan- 
gerous place for you. 

Philip. Come, June, let's look at the moon once 
more. 

Carol (handing Philip a xerap for June). June 
may need a wrap this time. (Philip takes the wrap 
and puts it around June's shoulders.) 



84 A CABIN COURTSHIP 

June. We'll say a last goodbye to the woods. 

Philip. And there'll be nobody looking on but the 
man in the moon. (June and Phiuip go outdoors.) 

George {callirig after them). Remember we leave 
early in the morning. 

Liz. Pears like this mounting air a mighty' good 
place fer courtdn'. Come a-long, Bill. (Liz and Bill 
go towards the outside door.) 

Bill. I'll be back by in the mornin'. 

Liz. I wish ye well. 

George {looks from Carol to Murray and then 
turns to Bill and Liz who are at the door.) I'll go a 
piece with you. (Liz, Bill and George go out up L. 
leaving Carol and Murray alone.) 

Murray. Carol, I waited for you a long time down 
at the turn in the road. 

Carol {coldly). I couldn't come. 

Murray {handing her a paper). This is a poem I 
wrote while I was waiting for you. (Carol takes the 
poem without a sign of interest.) 

Carol. Another poem ! 

Murray. The team is stijl there. Let's slip away 
together now. 

Carol. I'm not going with you. 

Murray. Not going .^ 

Carol. No. 

Murray. Perhaps it will be best to wait until to- 
morrow. 

Carol. I'm not going witli you tomorrow, nor the 
day after tomorrow, nor any day. 

Murray. But, Carol, I cannot live without you, my 
inspiration. 



A CABIN COURTSHIP 85 

Carol {hitterlij). An inspiration for jour poems 

— that is all I am to you. I want to be a flesh and 
blood woman to a real man. 

Murray. Carol, what has changed you so.'' 

Carol. Life in the mountain cabin, face to face 

with realities. 

Murray. Then 3^ou will not go out into the world 

with me.'' 

Carol. No, I know you too well now, 

Murray {with a light sigh). Our love has been a 

beautiful dream, but dreams are fleeting. The storm 

— the moonlight — this scene — all this has given me 
an inspiration for a poem. — I must find my note-book. 
{He goes out L.) 

(Carol stands still for a moment looking as if the 
world had crumbled at her feet. Then she glances 
down at the poem which she still holds in her hand. 
She goes to the fireplace and throws it in. She kneels 
domn and watches it hum.) 

George comes in from outdoors quietly and stands 
watching her. Conscious that there is some one in the 
room, Carol looks up and sees George. She tries to 
hide her tears. 

George. I know that you are very tired from all 
the strain and excitement and so I will say good night. 

Carol {sadly, as she rises to her feet). Good night, 
George. 

George {holding out his hand). Since we probably 
will not see each other alone again, I want to say — 
goodbye. 

Carol {starting). Not goodbye.? 



86 A CABIN COURTSHIP 

George. Yes. 

Carol. But wc will see each other when we go back 
to the city, won't we? 

George. I think not. 

Carol. But can't wc still be — friends? 

George. I shall always be your friend, but it's hard 
for a man to keep on seeing a woman when he has lost 
her love. 

Carol. It isn't you who have lost — it is I. 

George. But 3'ou have found what you wanted — 
poetry and romance. 

Carol. I have found that fine deeds are better than 
fine words. 

George. Why — Carol — are you waking up? 

Carol. Yes — at last I'm waking from ni}- senti- 
mental dream. {Pointing to the ashes in the preplace.) 
That's all that's left — ashes. 

George. What is it that has turned to ashes? 

Carol. jMurray Alden's last poem. 

George (looks at her in happy surprise.) Cheer 
up, Carol. Wc can sweep away the ashes. 

Carol. I've been tr3'ing to lean on a hollow reed 
and I need the strong pine. 

George. Well, tliis mountain grows pine. 

Carol {looking at him with admiration and affec- 
tion). Yes, and strong, brave, true-hearted men. 

George {holding out his arms). Little girl, I've 
been waiting for you to come home. 

Cakol {rcitli a radiant smile). After all, the ro- 
mance I went a-seeking was {going to liim) right here. 
Curtain. 



A CABIN COURTSHIP 



87 



I Will Go to Meetin' 

P ■ 




A CABIN COURTSHIP 



Call Up Your Dog 




THE END 



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